Archives for category: Photography

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Drawing Parallels: Architecture Observed by Quintin Lake is now available for preview and order at Papadakis Publisher

Light & Ice: East Greenland Landscape

Most SLRs cope remarkably well with freezing temperatures. I’ve had no problem using Canon EOS SLR cameras below zero for weeks on end, often down to -20°C and in extreme down to -30°C. This article is for those trying to keep such a camera going under expedition conditions, such as an icecap crossing or mountaineering expedition in the arctic: ie no power sockets, adverse weather, sleeping in tents on the ice and for a period of weeks. However much of the advice also applies to using a camera in cold conditions generally.

The two main technical problems to overcome  are :

1. Condensation

Condensation forms when moving from a cold to a warmer environment, you don’t need to worry about damage to your camera moving from a warmer to a colder environment. Even in arctic conditions the temperature inside a tent is often well above zero yet well below zero in the shade. this means there is often a temperature gradient when bringing a camera into a tent which leads to condensation forming. Condensation on the front element or view finder is an inconvenience, but condensation on the electronics can give permanent malfunction, and condensation in the inside glass elements can write off the camera off for hours or days till the lens totally dries out.

2. Reduced Battery efficiency

Batteries are many times less efficient in cold weather due to the reduced speed of the chemical reaction that powers them.

quintin-lake-arctic01-4

Tips for Reducing Condensation

1. Place camera in plastic bag
The camera should be placed inside a polypropylene freezer bag, loosely knotted or twisted and then placed back inside the camera bag. You don’t want to put a waterproof bag around the entire camera bag as any moisture in the camera bag would then condense on the camera body. Ziploc bags, and Ortlieb style dry bags may sound better but often don’t fit neatly inside the camera bag and are much heavier and more expensive. The freezer bag also has the major advantage that you can stuff it below your camera in the bag when not in use, but you need to take spares for when it gets damaged.

2. Use camera bag insulation
The padding on most camera bags (especially the holster style common on expeditions) offers some insulation value which can reduce the dramatic temperature change, when moving from environments of different temperatures.

3. Try and warm up slowly
If there are environments of differing temperatures try and make the warm up process for the camera as gradual as possible.

4. Avoid breathing on the lens
Obvious maybe, but If you need to clean the lens just use a camera cloth to avoid ice forming.

Light & Ice: East Greenland Landscape

Tips for dealing with Reduced Battery Efficiency

1. Carry multiple batteries
As a rough guide plan to take 2/3 times the number of batteries you’d need for equivalent shooting in temperate climates. My personal strategy if to take multiple batteries for an extended trip in the wilderness rather than deal with the uncertainties of solar chargers. This makes planning easy as one can ration a battery to last a given amount of time.

2. Warm batteries by keeping close to skin
Carry your spare close to your skin so your body can warm then. An apparently dead battery can be given more life by warming in this way so on very cold days you may find yourself rotating batteries in this way.

3. Adjust shooting style to conserve power
Accept you will get less out of your batteries so adjust you shooting style to conserve power. The biggest thing you can do is turn off after shot preview and reduce to a minimum previewing your images later. Addition power saving tips to get the most out of your battery are to turn off image stabilisation, don’t use flash and minimise half-press pre-focus.

View Light & Ice: East Greenland photographs here

Text & Photography © Quintin Lake, 2009

An architectural photography assignment for Julia Haensel Architecture documenting an exquisite almost-not-there glass walled meditation space in a garden in Richmond, London, England.

All building materials were brought into the tight garden site by hand via a narrow passage.

The 4 x 8 x 3.2 meter steel & glass meditation and contemplation space is based on Vastu principles. The construction was originally instigated by (Swami) Sri Kaleshwar. The buddha is a 16th century Khmer statue.

The shoot emphasised the quality of architectural detailing and the interplay of reflections with the transparency of the glass walls.

View the entire photoshoot here

Meditation space, 53 Mount Ararat Road

Meditation space, 53 Mount Ararat Road

Meditation space, 53 Mount Ararat Road

Meditation space, 53 Mount Ararat Road

Meditation space, 53 Mount Ararat Road

Meditation space, 53 Mount Ararat Road

See more architectural photography by Quintin Lake in the book Drawing Parallels, Architecture Observed

Photography © Quintin Lake, 2009

Cloud forest moss

Cloud Mountain Moss, Peru Giclee Print, 50×33cm, Edition of 25 + 1 A/P

[Competition Category: Creative Visions of Nature]

Buy Print/License this image here

Lepanthes sp. Orchid near the Interoceanic highway in Peru

Peruvian Orchid (Lepanthes sp. Orchid near the Interoceanic highway in Peru) Giclee Print, 50×33cm, Edition of 25 + 1 A/P

[Competition Category: Creative Visions of Nature]

Buy Print/License this image here

Hotel Polissia Terrace, Pripyat

Pripyat 21 Years after Chernobyl (Hotel Polissia Terrace) Giclee Print, 50×33cm, Edition of 25 + 1 A/P

[Competition Category: Urban and Garden Wildlife]

Buy Print/License this image here

See more photography Quintin Lake in the book Drawing Parallels: Architecture Observed

Photography © Quintin Lake, 2009


THE FIFTH SEASON: SUBLIME IN THE CITY

By Quintin Lake

featured in the book Cinematic Architecture 1993-2008

Cinematic Architecture Book, Quintin Lake, The Fifth Season

A few years ago I travelled with some friends one summer to the arctic. For two month we travelled through this reduced landscape leaving our homes in the city. We moved through the ever-changing light and the constant horizon. Kant wrote that the sublime is the moment before fear, feeling overwhelmed and yet using the power of the mind to stay grounded. Occasionally the wind would blow the snow with such force that there were no forms from which to take a bearing.

Cinematic Architecture Book, Quintin Lake, The Fifth Season

It sometimes seems bizarre when our desires are so ephemeral, that we live and move in such fixed forms. I yearn for a space of the fifth season within the city: a horizon and no walls, a house constructed of light, whose presence takes one by surprise. and responds to the seasons.

Cinematic Architecture Book, Quintin Lake, The Fifth Season

The house of the fifth season is located beyond the houses in a position of lightness where the possibilities of a new horizon can be seen. In the city the light sits perched on a raised structure, its form is created with a laser-light projection. The ephemeral edges are barely visible during the day. At night the reflective coating of the sky mesh screen glows with the laser light. The seasons of nature and the mind are the house. The layered transparent interior filters the city. The house has become the horizon.

Text & Photography © Quintin Lake, 2009

Pascal Schoning, Photography by Rubens Azevedo

Pascal Schoening with Cinematic Architecture Book. Photo: Rubens Azevedo

The book looks at 17 years of Architectural Association Diploma Unit 3 work and the past present and future of cinematic architecture.

Buy the Book on Amazon

Editors: Pascal Schoning, Julian Loffler & Rubens Azevedo. Design Stephan Doesinger. Published by AA publications

Featured content by Quintin Lake:

THE FIFTH SEASON: SUBLIME IN THE CITY

Photograph and design of the Cinematic House installation
from the chapter OF CLOUDS AND SHADOWS by Ron Kenley

Buy Cinematic Architecture 1993-2008 from Amazon UK here

Photograph of Briey: Cité Radieuse by Le Corbusier
from the chapter BRIEY CONVERSATIONS

Buy Cinematic Architecture 1993-2008 Book from Amazon UK

View-Pictures-Quintin-Lake

My commercial architectural photography is now represented by VIEW Pictures, the specialist and leading architecture and interior design picture library.

All suitable architectural photography from my archive and future assignments will now be available for license from them.

This offers architect’s who assign me to photograph their building a potential extra marketing outlet to get their pictures into well-known international publications. It also gives potential clients reassurance that my portfolio has passed the most stringent of technical and aesthetic quality control.

Oxford University Expedition 2008: An orchid inventory along the transects II and IV of the InterOceanic Highway.

Location of the Interoceanic Highway in Latin America

Location of the Interoceanic Highway in Latin America

The Interoceanic Highway is a multi-country, multi-region, $1.3-billion project to create a paved highway that links the Peruvian coast with the lowland Amazon Jungle and ultimately the Atlantic ports of Brazil. Peru is counting on the road as a means of opening up its long-neglected interior for development. Brazil is looking for access to Pacific ports. The finished route, planned for 2009, will create the first paved roadway connecting the Atlantic and Pacific oceans on the South American Continent.

A traveller through Southern Peru can wake up in the harsh chill of the high Andes in the early morning and spend the evening sweating it out in the jungle. From an engineering point of view the IOH poses a legion of difficulties including extreme elevations, incessant downpours and dramatic geography. “It is an incredibly complex project”, says Peru’s Minister of Transportation and Communications, Veronica Zavala. From a social point of view the highway links a variety of interests and development hopes that are not always lined with environmental governance initiatives.

Among the major goals of our expedition was the development of a comprehensive inventory of as many orchid species as we could identify (e.g. we found 103 species of orchids in flower, 1 of them has already been confirmed as new to science (Telipogon manucensis), and 3 others are pending examination. Orchids are an excellent ‘indicator species’ in ecology, and their delicate, often soil-less existence usually renders them the most sensitive residents of a changing environment. We now possess a snapshot of the ecosystem from July 2008, ready to be compared to a later snapshot to evaluate how seriously industrial road-building, climate, and social pressures can affect biodiversity.

In order to share our data with the scientific botanical community, our records will be entered at Oxford’s Virtual Field Herbarium, and also transformed into Rapid Color Guides at the Chicago Field Museum’s website. Our inventory is also being used as part of an ecotouristic initiative to promote green tourism along the Interoceanic Highway.

Expedition members: Rosa María Román-Cuesta (Expedition Leader), Norma Salinas Revilla (Leading Botanist, Oriel College), David Rueger (Financial Officer, St Hugh’s College), Theresa Meacham (Pembroke College), William Nauray (Botanist), Quintin Lake (Medical Officer and Photographer).

Our utmost gratitude to our sponsors: The Stanley Smith (UK) Horticultural Trust; The AA Paton Fund; The Oxford University Expedition’s Council; The Mike Soper Fund; The Oxford Society; Pembroke College JCR,, Oxford; St. Hugh’s College Travelling Funds, Oxford; The Anglo-Peruvian Society; The Tambopata Reserve Society (TReeS)

Download the PDF Expedition report here
 


Download the PDF photo summary of the orchids here

VIEW MORE IMAGES of the Orchids here

VIEW MORE IMAGES of the Expedition here

VIEW MORE IMAGES of the Interoceanic Highway here

Text © 2008 Rosa Maria Roman Cuesta

Maps & Photography © 2008 Quintin Lake