Photographing Houses Made With Care

FOREWORD BY BRIAN VANDEN BRINK

I remember the first Polhemus Savery DaSilva Architects Builders (PSD) house I photographed. It was in 2003, and I was shooting the house for a magazine. At the time I didn’t know the firm or their work, but the house was very interesting, photographed well, and was published several times. The house was on a small island in Chatham MA, on Cape Cod, and it was a challenge just getting the gear to the house across the salt marsh (at the time, I was using a large format film camera that had several cases of equipment that went with it). I can remember thinking how difficult it must have been to build the house if it was this logistically challenging to shoot it. I mention that because, in retrospect, I learned some important things about PSD on that shoot. I think these characteristics are worth noting because they are generally descriptive of the firm.

One thing I learned was that any assignment done for PSD would be very well supported. On this first shoot, a technician from PSD was there to make sure we understood how things worked in the house, that it was shipshape and ready to photograph, and that we got everything we needed technically to make the shoot successful. His presence was appreciated. In the twenty years since then, and after shooting roughly seventy other houses for PSD, this support and “sweat equity” has been there each time. In addition to technical support, there’s always a team on each assignment, with at least two people from the office. This team usually consists of myself and my assistant, the project’s design leader (either John or Sharon DaSilva), PSD’s marketing manager, and a stylist. Without exception, these folks have been excellent to work with. We all go home after a shoot totally exhausted (at least I do!), but the result of everyone’s hard work is exceptional. It’s fair to say that the shoots I’ve done for PSD would not have been as successful without these folks’ input and logistical support. This says a lot about the firm’s work ethic, professionalism, and commitment to their projects, not to mention the willingness to do the hard work that comes with achieving something special. PSD is all about “whatever it takes.” I sense that this not only applies to photo shoots, but also to how the team approaches their design and construction processes.

These architects/builders, led by CEO Aaron Polhemus, create unique houses with great attention to detail—something that I noticed on that first assignment. Not only the basics of making sure that systems are in order or that everything works properly, but also rich architectural details that provide depth to the design and a playfulness that is fun and exuberant. All of the PSD houses I’ve shot have had this same carefulness, revealing a clear understanding of New England architecture or of other great houses from outside New England. The level of craftsmanship—carpentry, painting, cabinetry, trim and finish work, and so forth, are all consistently well done.

Many of the houses I’ve photographed with PSD have been on or near the shore. Siting and fenestration are very important with any house, to maximize views and create a well-lit interior. As a photographer, I think it’s noteworthy that artificial lighting is rarely needed on a PSD shoot, as the houses are generally well lit by the sun. I appreciate that because it enables us to produce images that look natural and helps us to move more quickly on the job. Of course, the occupants of the houses are able to enjoy the benefits of a light-filled interior year in and year out.

Finally, a few words about my relationship with architect John DaSilva, PSD’s Design Principal. Over the years, I’ve probably spent more time working with John than with any client. And when I say “working with John,” I mean “working”. Doing a photo shoot of a house involves difficult labor and very long hours. John has been on almost every PSD shoot I’ve done from first thing in the morning to late at night. He is totally committed to the job, beginning to end. I’m the same way, and find that we make a good team. He doesn’t ask anyone to do something he’s not willing to do. He understands that dynamic images don’t just “happen,” they’re usually created with a lot of effort—just like dynamic buildings. I’ve learned to listen to his perspective, particularly when it involves a photograph I wouldn’t ordinarily do. As I review the pages of this book, I can see why he wanted to do those shots. They bring important variations that add richness to the storytelling of a house. I appreciate his diligence, knowledge of architectural history, and dedication to the art of design. I value our friendship built on years of working together toward the same goal. This is also true of my experience with everyone I’ve worked with at PSD.

Brian Vanden Brink is an architectural photographer based in Rockport, Maine. He has been photographing architecture and the built environment since 1973. His work has been widely published, including six books of his own. Brian and his wife Kathleen live in Camden, Maine.