An interview with architectural & commercial photographer Peter Molick

“During the earlier days of trying to fine tune my skills at photographing structures, I spent countless hours exploring downtown Houston, where I live, finding rooftops and other interesting vantage points to create cityscapes and images of iconic buildings here.”

Peter Molick is an artist and photographer based in Texas.

The son of a woodworker and a baker, he was born into an environment that fostered creativity and exploration. Outside of creative endeavors, he has a passion for the outdoors and adventure.

Educated in architecture and having worked in the field for a number of years, Peter eventually discovered that his true fit within the community was as a photographer celebrating the spaces his colleagues created. After seven years working as a photographer full time, he has found a comfortable fit working with a wide variety of firms on varying project types and scales.

Stylistically Peter strives to create boldly graphic, straight forward imagery that is clean and celebratory of the craft of the design community.

His personal work ranges from landscape photography to further explorations of the built environment through a unique lens.

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

I've been watching your tutorials on Instagram and can I congratulate you on offering some great insight into your work and thought process.

Work aside, can you tell us what has been keeping you occupied recently throughout 2020 and what your plans for 2021?

Hi Pete, thank you for having me and more broadly, for creating such a community.

The past year has definitely had its challenges, but I’ve been fortunate to safely continue working for the majority of the second half of 2020 and so far this year. Outside of my client work, I have been making an effort to keep a balance between that and my personal life in order to avoid burnout during an already stressful time.

One way I’ve gone about doing so is to spend more time outdoors whether that be cycling or off camping in our new Timberleaf Trailer (plug for my dad’s great company!). Like many of us who photograph spaces, I have a real passion for the outdoors and find it very recharging to get out, unplug and do some exploring. 

I think we can all appreciated that getting that work/life balance is incredibly important. I suffered a bit of burn out a few years ago and it made me reevaluate what was important and where I wanted to steer my career towards.

I discovered your work a while ago and have been engaging with it more recently, could you tell us what got you started, your background and enlighten us a bit more about your personal project 'Crossings'.

Of course.

I have a degree in architecture and worked at a handful of firms for about seven years before having the confidence and skillset to make the jump to photography full time, which I did in 2014. Photography had always been a passion and somewhere during my time with architecture firms I began trying to hone my skills shooting the built environment while simultaneously trying to get a grasp on the business side of things. Over time I began shooting projects for friends and colleagues, and eventually built up enough demand that I was able to find the fit that was right for me in the architectural world, which wound up being as a photographer. 

During the earlier days of trying to fine tune my skills at photographing structures, I spent countless hours exploring downtown Houston, where I live, finding rooftops and other interesting vantage points to create cityscapes and images of iconic buildings here.

Aerial photography is something that has fascinated me for a long time but felt unattainable. In the early 2000’s, I picked up a book by Yann Arthus-Bertrand called Earth From Above and was transfixed at the abstract forms he was able to capture from such a unique perspective.

Some time after, DJI released their first consumer drone and I dove straight in. In the beginning much of the images I created were not too unique, but every new image was like unearthing a new perspective that wasn’t possible before. Over time I developed a concept of this repeatable composition that I really grabbed onto - shooting intersections from a fixed position above them, allowing me to tile them together to create a kind of mosaic of a city.

The project caught some attention and eventually brought me to the 2016 Venice Architecture Biennale where I did a similar series of that city to show alongside Houston, a very start contrast. During this time I also participated in FotoFest Biennial doing my first portfolio review which I found really energizing and had many conversations about the possibilities of doing similar Crossings series in visually differing communities across the world, drawing connections to various socioeconomic conditions as well as those of the environments.

Unfortunately but very understandably this also coincided with ramped up restrictions for aerial photography using drones, particularly above populated areas, so I tabled the idea for the time being, though it is still very much in the back of my mind.

So funny you say that, I have Earth From Above on my bed stand…I remember when he did that series of books, I too was transfixed. I’ve just got my drone license here in the UK. I’m finding it a very interesting perspective….especially from someone who suffers from vertigo!

It was great to catch up with your chat at Shiftercom recently. It is inspiring to hear your thoughts behind your considered approach. This is something that I'm trying to draw upon in my own work.  

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

My approach varies based on project functions and type, but generally I would say that my aim is to create clean, straight forward images of built projects that do a design and production team the justice their efforts deserve.

The years I spent on the production side of architecture gave me a real appreciation for the effort that goes into certain outcomes that are often easy to overlook. This plays a lot into the decisions I make when it comes to composition. Similarly, I think it’s important to portray materials and objects at their best, showcasing the texture, color and materiality as accurately as possible. 

I don't think I know anyone who has a process with such attention to detail like yourself. With multiple lighting setups, flagging, layer masking & colour control, it's quite a thing to behold.

Is this something you enjoy and are you looking to refine it further in the future?

That means a lot, thank you. I take a lot of pride in my ability to create images that are as clear and free of distractions as possible. This can mean the use of supplemental lighting, eliminating distracting reflections and clutter, or just settling on as clean and direct a composition as possible that celebrates the thought put into a space.

This process can be very technical and often tedious, but there is also a great deal of satisfaction that comes out of finding those solutions that will lead to the best possible result. Of course we also make every effort possible to be efficient with ours and our clients time, which is always a balancing act. I am constantly questioning my own approach and tweaking it to fit what I think the style and vision is that I want for my work. 

I would love to spend as much time on my work as you do, however there is a work low balance that has to be considered, we just don’t seemed to be paid or valued as much as you guys across the pond.

Do you feel the payment to time ratio is something that holds people back in pushing their work forward? I.e.....should you spend 4 hours on one shot when you're being paid a small sum for 20 images....?

There are obviously many considerations to how much time a person is able to put into their work and think this is something that is constantly changing as our careers evolve.

I think that project types can also play a big roll in this. Large scale commercial projects often might demand much more attention than a clean modern residential space, and budgets and expectations will fluctuate accordingly. Part of the onus is on us as the photographer and industry to know the value in our time and skill, and ensure that the effort we put in to get the desired result does not go unnoticed or undervalued.

In fact, a large reason for my starting my YouTube channel (aside from early lockdown boredom) was to lift the curtain a bit to do just this - share what goes on after our efforts on site to produce the final outcome, both for my clients but also for our peers clients.

That said, 4 hours is a long time to spend on a single shot and though there may be certain ones that demand that commitment and attention, it’s important to recognize limits and/or know when certain expectations are too high or require additional fee.

I have personally become very efficient in my processes and rarely spend much more than an hour on an image, but this has come after years of honing my skills and refining techniques.

OK, I may have been joking with the 4 hours an image….I think it would take me that time to create what you create from the start on set to the final post results.

In reflection on this where do you feel the future of photography heading, not only in our genre but as a whole?

What a loaded question! As for our genre, I think that still photography will always have a place in representing architecture and interiors. There are obviously great possibilities with motion that will benefit the industry and how we are able to share spatial design, but there is something unique about a still image that has the ability to really celebrate certain aspects of thoughtful design and its functionality that cannot be replaced.

I think we will certainly see motion and still photography working in tandem together to tell a complete story of a design, and whether we choose to attempt to have our hands in both or master one or the other will be up to us and our personal limits. I personally love motion, but recognize that it is a skillset that I can not deliver the same amount of quality as in my still photography, so for the time being stick with the stills. 

As for the genre as a whole, I think we’re in an incredibly exciting time as the tools we use evolve and become more attainable and as there are more outlets than ever for visual media. This of course can create some struggles too as we are oversaturated with imagery, but my thinking is that strong work will always prevail and have a place. 

I know what you mean in regards to an oversaturated market. There is so much talent out there, but we could be in danger of creating a very one dimensional industry where everything looks the same where we’re all shooting from the same perspectives. I think challenging ourselves to go a bit further with our compositions could be something to explore in the future.

Don’t get me wrong I love a one point perspective….perhaps a discussion for another time….

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.

I am what feels like one of the last remaining Nikon shooters in our industry. The coming year or so will determine if this remains the case or if I finally try moving on to something new.

Shooting with D850’s and mostly TS lenses. For tethering I opt for the CamRanger as it gives me the most flexibility to move around a space and see changes I’m making to a scene right there in my hands, and as anyone who has worked with me knows, I can’t resist going in and tweaking furniture/objects/people to a T. Lighting wise I use battery powered Profoto’s, which is key to moving around a space quickly.  

As far as my process, it can change from project to project depending on the scale, complexity and quality of light. Generally when shooting we are utilizing a mixture of available light and supplemental lighting in order to generate an image that is as clean as possible and appropriate for the space.

As I mentioned above, I rely heavily on the CamRanger to style a space once a composition has been settled on and try to ensure that anything visible in a scene has ample amount of breathing room to eliminate any unnecessary tension. Back at the computer I use Capture One and Photoshop to process and composite everything together to get to the desired outcome.

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

This is something I've been discussing with other recently and I'm not alone. As my own personal work progresses, I look around at others work and something just want to give up! Do you have any advice?

I absolutely suffer from “Imposter Syndrome” and think that is just part of being in a creative field where you are responsible for so much of the outcome.

We are also inundated daily by the best work of our peers across the globe, which often leads us to question whatever we are producing. My way of dealing with this is to try not to compare myself with others so much as to take inspiration from the way they see differently than I do.

There is no shortage of good design being created these days and think that there is room for all of us as long as we continue to create work that others respond to well and that fits our own unique vision.

Phew….so not just me then! Sharing not comparing…

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

Inspiration is literally everywhere for someone in our industry I think. I definitely am continuously inspired by the work our peers create, both by their ability to visually capture a space but also by the architecture they are exposing me to through it.

Outside of photography though, I follow the arts fairly closely and get great creative energy from being around new work and the spaces they are shown in. My love of architecture has only strengthened since I left the field and I absorb it as much as possible, whether that be physically through visiting places or through books and virtually. 

I like to think my style is constantly evolving based on my growth as a creator and on what I see out in the community of art and architecture. When I really began to dive into the art of architectural photography, I always found myself drawn to the clean imagery of designs that seemed to really celebrate the space and efforts behind creating them and think that I have since strived to find my own version of that in my own work.

Sometimes I feel like I’m living in the wrong country for the work I’d love to shoot. I have a big passion, like you for the outdoors and sustainable architecture. I’m trying to seek out this work more this year but there are quite a few restrictions in the area I live in for experimental architecture.

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

One of the things that I like most about photographing architecture is the variety of project types that we are able to get in front of.

Recently I’ve had the opportunity to photograph some great work at a larger scale, which I find really invigorating and uniquely challenging. I’ve shot a fair amount of work for the arts community over the years as well, and am always energized by shooting spaces designed to showcase art.

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

Something that jumps to mind is not a particular project, but discovering the career as an architectural photographer in general is something I try to never take for granted.

My career on the production side of architecture consisted of many different avenues as I tried to find the right fit for myself, and it wasn’t until I stepped aside from the practice of architecture to the photographing of it that I really felt I had found my place. I am grateful for having found this path and for the many opportunities it’s afforded, both personally and professionally. 

Well you’re doing awesome…good choice!

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

We are so fortunate these days to be able to form such strong connections with others in our field and to have endless inspiration as a result.

I am continuously inspired and driven to push further by a number of friends and colleagues that I’m connected with on social media and elsewhere, and honestly feel that there are too many to list without leaving some people out. 

Boooo…so diplomatic!

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

Drawing on my response to the previous question, I have a real sense of gratitude for the connectivity that exists across the world in our community and this time has only strengthened that.

From this platform that you have created, to APAlmanac, the ZoomedIn Festival, BAAM podcast, Shifter and much more, I feel that we have become more connected and supportive than ever and think this only strengthens our profession and the contribution we can have on the design community in general. 

I also have dipped my toe into video a bit over the course of the lockdowns and tried to really appreciate the opportunity to explore other avenues of interest without external pressures. I am not sure where this practice will lead, but enjoy the exploration and new type of engagement with my work and community that it has provided.

A huge thank you to Peter for taking the time out for his brilliant takeover showcase and for his interview.

To see more of Peter’s work visit his website - www.petermolick.com