An interview with architectural, interiors, environmental & documentary photographer Bas Gijselhart

'“Inspiration could come from graphic design, a sketch by the architect or a scene from a movie. I don't think it works in a literal 1-to-1 way for me. I rarely make concepts. In essence I just walk around and lift up my camera to make a photo once in a while.”

It’s been great to have with us this week Bas Gijselhart of BASEPHOTOGRAPHY.

After graduating from the Eindhoven University of Technology, where he studied architecture, he worked as an architect for a few years.

Bas pivoted to photography in 2008. He is based in Helmond, The Netherlands, and specialises in architecture and interiors, with the occasional environmental portrait.
People play an important role in his photos, as they give context and a sense of scale.

He is a fan of nice details and use of materials. His style can be described as documentary, he strives to tell a story with the least amount of elements necessary, distilling it down to the essence.

This week he has shown us some examples of his recent projects in a few themed series.

Hi Bas, I hope all is safe and well with you and many thanks for taking the time to share with our community.

Let's start with the here and now. Can you tell us what has been keeping you occupied recently throughout 2020 and what your plans for 2021?

Thanks for letting me share my work, Pete. I appreciate the kind words and hope to have provided some nice examples of my work. 2020 was a year where I was a homeschooling dad for quite some time, but on the other hand, it was one of my busiest years.

For a long time here in the Netherlands there was no mandate to stay home when there was a lockdown. Because I had mostly exterior shoots I could keep working, as in those cases I rarely come in direct contact with other people.

Currently, we are halfway through 2021 already, and I can say that last year's trend has continued. I've even had my first assignment abroad, just across the border, in Belgium. (only an hour by car, still counts, right?)

Oh they all count my friend!

Could you tell us a bit more about your past, your ethos and how you approach your work currently?

 From a young age I was always into drawing houses and building things with wood and Lego, so I thought I was destined to become an architect. At the Eindhoven University of Technology I studied architecture. After a stint of living and studying abroad in Madrid , I returned home for my thesis project. Post-graduation I worked as a junior architect for a firm in Eindhoven. This was until 2008 when the economic crisis hit. The company went bankrupt and I decided to give photography a shot. I had photographed since my studies, first with film, but later with digital, which was helpful in honing the craft.

Because I still think as a designer this guides my way of framing. I love shooting frontal facades, have a great appreciation for nice use of material and well-crafted details.

To come up with a good detail, designers work hard on them, sometimes up until the point that they become so obvious that they are no longer noticed by people. I love to give those details extra attention, to give them a podium, so to speak.

People play an important role in my work. They give a sense of scale and context. A building in use gives a much different view than an empty one.

How do you go about getting work and what do you find is the best solution you've found?

When I entered the field of photography, I already had a network of other architects because I had been a member of the Dutch association of architects. I used to attend meetings and go along with site visits and excursions. This helped, but at first only for a small bit, as other firms also endured the economic malaise of that time.

Architects and developers usually build relationships with photographers, so once a connection is made, they tend to stay faithful and not that prone to hire new photographers or one's they don't know. I only had a limited portfolio of work back then, and my work was not as consistent as it is now. That unknown factor does not help. Cold calling did not work.

I decided to continue to attend the excursions of the architects association, to keep on visiting newly realized projects and to keep connected with the other attendees, who mostly walk around and use their phones to photograph the projects we visited.

Afterwards, I usually made a set of my photos available to the organisers and the attendees, to use in their reports and/or website/blog posts. This way I stayed on top of mind and from time to time this led to paid work.

Now I've been doing a combination of architecture and interior photography for about 12 years and over the years I've built strong relations with my clients. Nowadays they function as a kind of ambassadors of my work, which is great. An architect sometimes works with another firm to take on a larger project or a developer may start developing in another area, thus starting new relationships with other architects, structural engineers or landscapers. All potential clients.

Of course, I cannot sit on my laurels and need to keep delivering results. This is a nice motivator.

Where do you see the future of photography heading, not only in our genre but as a whole?

Photography has become more widespread, with more people carrying a camera or other means of photography (mobile phones) becoming better. Still, I think that professional photographers will remain necessary. The camera is just a box, a tool. Granted, some features of my current camera are very handy and facilitate things, but the preparations before a shoot and the way things need to be handled during and after a shoot is something that cannot be automated.

What is the interior and architectural scene like in Helmond and Holland? Is this where do you do most of your work?

The region of Eindhoven and Helmond is called the Brainport Region, the Dutch version of Silicon Valley. In the last period, it's been responsible for the most economic growth in the Netherlands. About half of my clients come from this area. Others are from further away. Some work is local, but in the last year and a half, I've had assignments all across the country.

I love Holland as a nation. A few of my good friends are Dutch which has its benefits when travelling!

As a photography community we love a bit of gear talk, could you tell us what equipment you have in your bag and enlighten those who aren't familiar a little bit more about your process.

Earlier I said the camera is just a tool, but I'm just as much a gearhead as the next guy. Earlier this week I shared a 'what's in my bag' to show my current kit.

Since I started with photography I've been working with Canon, first with 5d2 and dreaming of owning a tilt shift lens. Currently the Canon EOS R5 is my workhorse. I do a lot of my shooting handheld, the IBIS in the camera is really helpful. The resolution is nice to have, so crops also hold up well.

The lenses that come out of my bag the most are my pair of tilt-shift lenses: the 17 and 24 TS-E by Canon. They adapt nicely with the Canon EF-RF adapter. The focus guide in the viewfinder helps with critical focus. Next to these I have started to switch to using mainly RF-glass: a 35 and 85 macro and a 70-200 F4.

After using a Manfrotto tripod and geared head for quite some time, at the end of last year I upgraded and bought a Gitzo from the systematic giant series with an Arca-Swiss C1 Cube.

I mainly shoot with available light, but will add flash if the job requires it.

Do you feel that you're happy with the work you produce or do you suffer from 'Imposter Syndrome'?  

A while ago I saw someone sharing this image: https://media-exp3.licdn.com/dms/image/C4D12AQGwgjwzpnZRug/article-cover_image-shrink_720_1280/0/1622193655140?e=1628726400&v=beta&t=H1hgUGI1vW0ljZmYDzxcypL1-ddMn3HryyMfoEKi6D8

Thinking that you're not good enough, that people will find out that you're not as good as you say you are: it could make you feel insecure at times, the person who shared the image wrote. The same feeling can also keep you alert, sharp and creative. Sometimes I see photos that make me want to have made them myself, of course, but then I try to figure out why I appreciate them and try to see if I can implement similar principles in my work. That's a thing I also like about current times, where techniques are shared more widely, be it in paid tutorials or on YouTube.

As my own personal work progresses, I look around at others' work and see so much incredible work! Do you have any advice for keeping motivated and pushing yourself forward?

This is a nice follow-up question. Keeping motivated is very personal, and not everyone has the same conditions. It could make you envious of others’ work. Travelling across the globe year-round to shoot the most glorious projects seems fabulous, but with 3 kids it would be very difficult for me to implement.

Adopting a more Stoic philosophy could help. It's not something that I practice intently, because of the philosophy, but I notice some of my character traits coincide with it.

Analyzing other's work sometimes helps, trying to figure out what techniques that other people use could broaden your own way of working. This could push you forward.

Where do you draw your inspiration from and how do you go about creating your stylised look?

My 'look', if you can call it a look, stems from my background as an architect/designer. I love symmetry and abstract imaging, for example telling a story or showing a project with the least amount of elements necessary.

Inspiration could come from graphic design, a sketch by the architect or a scene from a movie. I don't think it works in a literal 1-to-1 way for me. I rarely make concepts. In essence I just walk around and lift up my camera to make a photo once in a while.

Do you have a favourite thing you like to shoot and why?

Schools are complex, but fun. There are a lot of moving parts, literally, because I photograph them in use. I try to plan to go on a sunny day and then go with the flow of the school schedule. When the pupils are inside you'll find me inside as well, during breaks I will join them in their play areas, usually outside. The hustle and bustle is nice, but also complex, as not every child is allowed to be photographed for public use. Having a school employee with a list is helpful.

I mentioned earlier that I appreciate good use of materials and I like being able to slow down during a shoot and just concentrate on giving a nicely designed detail all of my attention. Trying to find the best way to frame it, by use of symmetry, rhythm and colour rhyme.

What would say the highlight of your career would be to this point?

One of my highlights was being asked to photograph specifically for about book about the 100 Best Buildings in Eindhoven: Eindhoven Architecture City (https://www.nai010.com/en/publicaties/eindhoven-architecture-city/240896/). It made me look differently at the city I know very well, and knowing the book is in the stores and with my name on the cover makes me very proud. All photos, except the archive images, are made by me, the cover photo included.

Do you have any favourite photographers that inspire you and anyone you think we should be keeping an eye out for?

Recently, the LOOP Design Awards team published a list with the 100 Most Inspiring Architectural Photographers. There are loads of 'usual suspects', such as Iwan Baan, Fernando Guerra and Julius Shulman.

Through M-mode, Apalmanac and The Shifter community I've gotten acquainted with (the work of) very inspiring photographers.

There are a few fellow Dutchmen whose work I admire and sometimes make me think: I wish I had taken that photograph. Like me, they didn't make LOOP's list, but their work is great nonetheless:

Marco de Groot (https://www.instagram.com/marcorama/),

Sebastian van Damme (https://www.instagram.com/svd_fotografie/)

Ewout Huibers (https://www.instagram.com/ewouthuibers/)

Mitchell van Eijk (https://www.instagram.com/mitchellvaneijk/)

Isabel Nabuurs (https://www.instagram.com/isabelnabuurs/) .

Lastly, what has been your favourite takeaway in all the lockdowns?

Slowing down, and being more appreciative of what was still possible, such as spending more time with my kids. It has rekindled my love for LEGO, and has given me more time to read some books I had bought, but shelved.

It’s been our pleasure to have Bas with us this week. A big thanks to him for giving up his time for the takeover and interview.

To see more of his work click on the following links - Website - Instagram.