In Focus is Archinect's new series of features dedicated to profiling the photographers who help make the work of architects look that much better. What has attracted them to architecture? How do they work? What type of equipment do they use? What do they think about seeing their work in blogs?

In this feature, we talk to London-based photographer Luke Hayes.
 

Archinect: What is your relationship with architecture? What drew you to architecture, as a photographer?

Luke Hayes: Two of my family members are architects, and I have always been interested in the built environment. Not just architecture, but also infrastructure and buildings or structures that perform a function that are not necessarily designed with their architectural merits in mind.

Whilst at art school, I experimented with large format photography and was naturally drawn to shooting buildings. Subjects I chose were often more obscure structures such as a holiday hut or a 1960s modern church.

My principle influences were Jeff Wall, Hiroshi Sugimoto, The Becher's and Julius Schulman.


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The MAXXI, Rome. By Zaha Hadid Architects . Photography by Luke Hayes


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The MAXXI, Rome. By Zaha Hadid Architects . Photography by Luke Hayes

Describe how you work... who are your clients?

LH: Most of my work these days is commissioned, and usually I am briefed 1-2 weeks before the shoot takes place. Where possible, I will meet with the project architect and take a walk round the location and try to identify important angles, views etc. But usually it is a brief phone call or email, and I am left to take my own interpretation of the building.

Some of my clients include Zaha Hadid Architects, The Design Museum, Chapman Taylor, Carmody Groarke.


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JS Bach Music Hall, Manchester. By Zaha Hadid Architects . Photography by Luke Hayes

Do you mostly work in a specific region? What is your travel schedule like?

LH: Last year I traveled quite a lot, MAXXI rome, 100% Design Tokyo, but usually most of my work is in London. This year, I am hoping to visit Abu Dhabi, Japan and China. A goal of mine is to work for a longer period of time in a foreign country.


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Serpentine Pavilion 2008 by Olafur Eliasson . Photography by Luke Hayes


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Tate St Ives, Cornwall. By Evans and Shalev . Photography by Luke Hayes


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Artists residence, North London. By Carmody Groarke Architects . Photography by Luke Hayes

What is your goal when capturing buildings in photographs?

LH: I'm aiming to capture the signature of a building. In so doing hopefully describing the architect's vision as well as the functionality of the building. Sometimes it's not always possible in one shot, so I also try to shoot as if taking a visual journey around the structure.


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Serpentine Pavilion 2007 by Zaha Hadid Architects . Photography by Luke Hayes


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Magna, Science Center, Sheffield. By Wilkinson Eyre . Photography by Luke Hayes

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

LH: People are usually what the architecture is created for, and so it is very important to show interaction. As well as scale and movement around the structure. But sometimes a beautiful sculptural form works better on its own.


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Serpentine Pavilion 2008 by Frank Gehry . Photography by Luke Hayes


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Westminster Kingsway College by Bond Bryan Architects . Photography by Luke Hayes

What are your favorite pieces of equipment?

LH: 1DS MK111 with a 24m TSE.


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The Willis Tower, Skydeck Ledge by SOM . Photography by Luke Hayes


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Zaragoza Bridge Pavilion by Zaha Hadid Architects . Photography by Luke Hayes


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Prada Store, Tokyo. By Herzog & de Meuron . Photography by Luke Hayes

Do you work alone?

LH: Usually I work alone.


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Calais infrastructure. Photography by Luke Hayes


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Tate Modern, London. Photography by Luke Hayes

How do you feel about seeing your photographs on blogs and websites?

LH: It's all still very new. Blogs and websites that are promoting architectural news and events are great. As long as we are credited and hyperlinked!! The gray area between what needs to be payed for and the benefit to the client needs to be addressed. Especially if the website sells advertising space, because I believe any potential advertisers would be more likely to spend money on a site that has great photography.

So maybe we should be paid something?



Luke Hayes studied photography at Falmouth College of Arts and graduated in 2000.

Ever since, he has been working in photography.