The Retreat at Pumphouse Point by JAWS Architects. Image © Adam Gibson

In Focus is Archinect's recurring series dedicated to profiling the photographers who help capture architecture and 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 are their goals when capturing buildings?

For this installment, Archinect chatted with Australian photographer Adam Gibson. Based in Tasmania, Gibson documents the stunning work of the island's architecture scene in his unique style that often straddles the intriguing border between architectural and lifestyle photography.

What is your relationship to architecture? What drew you towards photographing architecture?

My dad was a draftsman, and I guess the idea of form, composition, and detail came from him, and technical drawing that I undertook at school. As a child, I used to dream and sketch up houses that I wanted to build when I grew up. I worked as a graphic designer for 15 years before switching to photography full-time. I guess photographing architecture is something that I naturally gravitated to, based on this strong connection to graphic composition and layout.

Do you remember the first photograph you ever took?

No, unfortunately I don’t. It would have been on my dad’s Minox camera, though. He had this little Minox that had a flip-down lens. It was a tiny camera, but I believe the optics were Leica or a good quality maker. It wasn’t until I got to college that I really became interested in photography and cameras, I guess.

What's the main difference in how you approach architectural photography versus lifestyle photography?

They are completely different, and I really enjoy the contrast between the kinds of projects I work on.

Lifestyle work is fast, sporadic, candid, observational, and creative. You can shoot from the hip, experiment and just let it all go, really. Often you are presented with 'happy accidents’ in this kind of work, and it all adds to the final set of images.

I love spending a day observing how the light moves through a space and a building, noting when to come back and shoot a part of the building when the light is right.

Architectural work is the opposite for me. It is slow, methodical, critical, detailed, and precise. I love spending a day observing how the light moves through a space and a building, noting when to come back and shoot a part of the building when the light is right. There is still an element of creativity that is required to obtain a strong composition, it’s just that you can work up to it over several different attempts — chip away at it like a painting, I guess. You also need to be able to envisage what the architect’s vision was in the building and then capture it strongly and effectively. I think 90% of shooting architecture is about proving to the client that you understand what their intentions were with the project.

What are your goals when capturing a space?

Capture the spirit and feeling of the space in the strongest, simplest composition possible.

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

I don’t have a rigid process as such, but the usual approach for a shoot would be to do a recce of the project prior to the shoot whenever possible. On the day, I will walk around the building with the architect, and we discuss the key aspects of the spaces as they see it. I make some notes on the light and what time is going to be best for each aspect. Then I make a coffee, and then I get started with working through each section slowly and carefully, based on the light and the plan I have made.

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

I am a big believer in including people in images. My opinion on it is that the buildings are made with the intention of being occupied by people, so let’s show some people! Including people can be a great way to demonstrate scale and space in a building. It can also add warmth and energy to a space that may otherwise seem cold and bare. I don’t include people in every shot, but for images that I feel need it, I will.

Do you believe the “perfect” photo exists?

No, not really. Nothing is perfect, and that’s just perfect to me.

The architecture scene in Tasmania is quite amazing. I see similarities to the incredible NZ scene — where the island component seems to create a sense of mystery and projects are often situated in unbelievable locations.

What is one thing you wish people knew when it comes to being a professional photographer?

I’m still quite new to the world of ‘professional’ photography, however, I have learned that it’s important to be humble, keep an open mind, and to know that you always have more to learn. You won’t ever really feel like you have ‘made it’ or that you’re at the top of the game, and that’s just fine. I think it is easy for people to reach a certain level in photography and then plateau out. I see it as a lifelong adventure, and I am constantly trying to push myself and learn more every day.

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

For architectural work, my new Fujifilm GFX 50s is my new favorite toy. The medium format produces some incredible images, with a certain crispness that I really love. For other work, I just can’t go past my Sigma 50mm. I reckon I have shot 80% of my lifestyle projects on that one lens alone. I’m not a really tech-focused photographer. I get my tool kit down to what works and what I trust, and I stick with it.

Are there any photographers you look up to?

So many — too many to list. It’s important I believe when you are starting out to identify some photographers that you see as mentors, if you like. Identifying photographers whose direction and style you appreciate is a great guide for your own trajectory. Some of my most respected would be Derek Swalwell, Sean Fennessy, Derek Henderson, Damian Bennett, Jon Way, Peter Bennetts, Simon Devitt, Saskia Wilson, John Laurie.

You're based in Tasmania, Australia. Do you find most of your architectural photography commissions within the region? How would you describe the Tasmanian architecture scene?

I work in Tasmania primarily but also in Melbourne and Sydney increasingly. The architecture scene in Tasmania is quite amazing. I see similarities to the incredible NZ scene — where the island component seems to create a sense of mystery and projects are often situated in unbelievable locations. Tasmania is a small island, so it’s always easy to have spectacular views of the coast and sometimes the mountains in one location.

The local architects here I believe are enjoying a great run of people looking to engage them to create thoughtful, memorable buildings.

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?

Today is yesterday’s tomorrow. Go out and do it now, don’t talk about doing it. The best advice I have been given is not so much from the industry but more from life outside of photography. My motto that I have developed over the years is if you’re not creating something memorable, then it’s not worth creating. Focus on what you’re doing, see it through, smile and be kind. It’s a privilege to be working at something you love, so don’t complain about it, ever.

Find more of Adam Gibson's work on his website and make sure to follow him on Instagram.