Capturing the Human Experience in Place by Pygmalion Karatzas

UTK Greece 2019 Course Material

The University of Tennessee Knoxville

Programs Abroad - Miniterm

8 - 28 May, 2019

Course Material

Prof. Mark DeKay | Pygmalion Karatzas | Susanne Bennett

Architectural & Landscape Photography in Greece:

Capturing the Human Experience in Place

Content

Class 1: shooting manual & camera basics

Class 2: composition in photography

Class 3: post-processing in Lightroom & Photoshop

Class 4: Long exposure photography

Class 5: Typologies in architectural photography

Class 6: Architectural photography aspects

Class 7: time-lapse photography / videography

Class 8: wix web design editor & online photography presentations

Workshops behind-the-scenes

CLASS 1: Shooting manual and camera basics

Camera basics

Exposure (aperture, shutter speed, ISO)

Shooting RAW

White balance (colour cast, temperature)

Balancing natural & artificial light

Focal length, wide angle & zoom lenses

Depth of Field

Histogram & S-curve

Formats, aspect ratio

Shooting RAW A natural high dynamic range

Pygmalion Karatzas

Shooting RAW Lighting the scene Pygmalion Karatzas

White Balance White Balance in some cases (especially interior) is important to correct, so for example walls donâ&#x20AC;&#x2122;t become yellow from the artificial lights, and in some cases (dusk, sunset) it becomes an artistic/subjective choice of the mood we want to convey.

Interior Balancing natural & artificial light, blue hour.

Exposure time: 1/80

Aperture: f4,5

ISO 800

Pygmalion Karatzas

Exposure time: 1/13

Aperture: f11

ISO 100

Exposure time: 1,3 sec

Aperture: f11

ISO 100

Nikon 14 - 24 mm

Nikon 24 - 70 mm

Nikon 70 - 200 mm

Nikon 18 - 105 mm

Focal length, wide angle & zoom lenses It is not just that with wider lenses we capture the whole building/scene and with zoom lenses we capture closeups. By using wider or zoom lenses we observe and see our subject diďŹ&#x20AC;erently, our composition mindset also switches to a diďŹ&#x20AC;erent gaze.

Pygmalion Karatzas

24 mm

105 mm

18 mm

14 mm

45 mm

Nikon 14 - 24 mm

Nikon 24 - 70 mm

Nikon 70 - 200 mm

Nikon 18 - 105 mm

Focal length, wide angle & zoom lenses

Pygmalion Karatzas

16 mm

50 mm

38 mm

70 mm

105 mm

Depth of field Exposure time: 1/80

Aperture: f2.8

ISO 200 Exposure time: 1/4 sec

Aperture: f7,1

ISO 100

Pygmalion Karatzas

Exposure time: 0,8 sec

Aperture: f7.1

ISO 100

Depth of field Pygmalion Karatzas

Exposure time: 1/160

Aperture: f9

ISO 100

Exposure time: 4 sec

Aperture: f7,1

ISO 100

Exposure time: 2 sec

Aperture: f5.6

ISO 400

Exposure time: 1/5 sec

Aperture: f4

ISO 800

Histogram & S-curve

Formats, aspect ratio 1:1 (1x1), classic Kodak image

5:4 (1x1.25), medium and large format cameras

4:3 (1x1.333), digital point-and-shoot cameras

3:2 (1x1.5), classic 35 mm film, DSLRs

16:9 (1x1.777), standard HDTV, (APS 24 mm, discontinued)

3:1, panorama (APS 24 mm, discontinued)

2.2:1, standard 70 mm cinematic film We utilize all aspect ratios depending on

which one works best for our scene.

Added benefit, giving layout options to

graphic designers and editors.

1:1

3:2

2.2:1

Pygmalion Karatzas

5:4

4:3

CLASS 2: Composition in photography

Composition: Steve McCurry rules of composition: 01. Rule of thirds Place points of interest on intersections Position important elements along the lines 02. Leading lines Use natural lines to lead the eye into the picture 03. Diagonals Diagonal lines create great movement 04. Framing Use natural frames like windows and doors 05. Figure to ground Find a contrast between subject and background 06. Fill the frame Get close to your subjects 07. Patterns and repetitions Patterns are aesthetically pleasing but the best is when the pattern is interrupted 08. Symmetry Symmetry is pleasing to the eye

Composition in street photography and architecture: 01. Rule of thirds: Place points of interest on intersections Steve McCurry

Pygmalion Karatzas

Composition in street photography and architecture: 01. Rule of thirds: Position important elements along the lines Steve McCurry

Pygmalion Karatzas

Composition in street photography and architecture: 02. Leading lines: use natural lines to lead the eye into the picture Steve McCurry

Pygmalion Karatzas

Composition in street photography and architecture: 03. Diagonals: Diagonal lines create great movement Steve McCurry

Pygmalion Karatzas

Composition in street photography and architecture: 04. Framing: Use natural frames like windows and doors Steve McCurry

Pygmalion Karatzas

Composition in street photography and architecture: 05. Figure to ground: Find a contrast between subject and background Pygmalion Karatzas

Steve McCurry

Pygmalion Karatzas

Composition in street photography and architecture: 06. Fill the frame: Get close to your subjects Pygmalion Karatzas

Steve McCurry

Pygmalion Karatzas

Composition in street photography and architecture: 07. Patterns and repetitions: Patterns are aesthetically pleasing, but the best is when the pattern is interrupted Steve McCurry

Pygmalion Karatzas

Composition in street photography and architecture: 08. Symmetry: Symmetry is pleasing to the eye

Pygmalion Karatzas

Steve McCurry

Pygmalion Karatzas

Composition tools by Ian Plant (“visual flow”): Good composition tells a story about the subject; Composition entices viewers emotionally and visually into the scene; Composition allows you to impose your artistic vision; Composition invites viewers to see the world through your eyes. 01. Don’t be so literal. Think in the abstract (shapes, color, lines, progression from dart to light). When we were kids we used to watch clouds and see shapes and faces. This is what you want to be looking for in your photography. 02. Foreground. Creates depth, leads the viewer’s eye into the scene. “Near-far” composition, foreground/background (but also something in the middle). You can also “create” your foreground (long exposure of waves pulling you in). 03. Shapes, Curves, Leading lines, Vanishing point, imply the perspective, progression of scales. 04. Shooting through, “framing”. 05. Diagonals. 06. Counterpoint. Two or more strong or elements “competing” for our attention. Juxtaposition of two or more visual elements. 07. Visual anchors. Complex scenes become for a moment ordered with a visual anchor or during a decisive moment (when all the elements come together in some harmonious way momentarily). Visual loop. 08. Patterns. 09. Shooting into the sun. 10. Reflections.

Ian Plant tools of composition in landscape photography: 01. Don't be literal, think in the abstract.

Tools of composition in architecture photography: 01. Don't be literal, think in the abstract.

Andrew Prokos

Pygmalion Karatzas

Left image captures the fluid patterns of the facade

Right image also looks like a metallic animal coming to life

Ian Plant tools of composition in landscape photography: 02. Foreground, "near/far" composition, create depth.

Tools of composition in architecture photography: 02. Foreground, "near/far" composition, create depth.

Pygmalion Karatzas

Left image captures the buildings and pond

Right image includes foreground with similarity in pattern

Ian Plant tools of composition in landscape photography: 03. Shapes, curves, leading lines, vanishing point

Tools of composition in architecture photography: 03. Shapes, curves, leading lines, vanishing point

Pygmalion Karatzas

Mitsis Hotels

Ian Plant tools of composition in landscape photography: 04. "Framing", shooting through, use elements in your scene to frame your subject.

Tools of composition in architecture photography: 04. "Framing", shooting through, use elements in your scene to frame your subject.

Pygmalion Karatzas

Ian Plant tools of composition in landscape photography: 05. Diagonals

Tools of composition in architecture photography: 05. Diagonals.

Pygmalion Karatzas

Ian Plant tools of composition in landscape photography: 06. Counterpoint: two or more strong/similar elements "competing" for your attention.

Tools of composition in architecture photography: 06. Counterpoint.

Pygmalion Karatzas

Ian Plant tools of composition in landscape photography: 07. Visual anchors.

Tools of composition in architecture photography: 07. Visual anchors.

Pygmalion Karatzas

Ian Plant tools of composition in landscape photography: 08. Patterns.

Tools of composition in architecture photography: 08. Patterns.

Mitsis Hotels

Pygmalion Karatzas

Ian Plant tools of composition in landscape photography: 09. Shooting into the sun.

Tools of composition in architecture photography: 09. Shooting into the sun.

Pygmalion Karatzas

Ian Plant tools of composition in landscape photography: 10. Reflections.

Tools of composition in architecture photography: 10. Reflections in water.

Pygmalion Karatzas

Mitsis Hotels

Tools of composition in architecture photography: Breaking the rules.

Mabry Campbell

Breaking the straight horizon rule

Tools of composition in architecture photography: Study other photographers.

Arcspace presents the architectural photography series

www.arcspace.com/thecamera

CLASS 3: Post-processing in Lightroom and Photoshop

Example of post-processing color and B&W

Exposure time: 60 sec

Aperture: f22

ISO 50 Pygmalion Karatzas

Ansel Adams Zone System

Examples of post processing - waterscapes

Exposure time: 30 sec.

Exposure time: 1/500

Pygmalion Karatzas

Examples of post processing - waterscapes, landscapes

Exposure time: 15 sec.

File - Automate - Photomerge (for panoramic stitch)

Pygmalion Karatzas

Examples of post processing - waterscapes, landscapes

Exposure time: 92 sec.

Pygmalion Karatzas

Examples of post processing - architecture

Filter - Blur - Motion blur...

Pygmalion Karatzas

Examples of post processing - architecture

Filter - Blur - Radial blur...

Filter - Blur - Lens blur...

Pygmalion Karatzas

Example of "blue hour" images at dusk and dawn

Exposure time: 6 sec

Aperture: f13

ISO 100

9 pm

Exposure time: 1,6 sec

Aperture: f11

ISO 100

6 am Pygmalion Karatzas

Examples of post processing - architecture, interior

Pygmalion Karatzas

Bringing out highlights and shadowsâ&#x20AC;Ś

Correcting white balanceâ&#x20AC;Ś

CLASS 4: Long exposure photography

Long-exposure photography involves using a long-duration shutter speed to sharply capture stationary elements of a scene while blurring, smearing, or obscuring the moving elements.

Long-exposure captures one element that conventional photography does not: an extended period of time.

Clouds form broad bands, stars leave trails in the sky, water waves appear smooth, the paths of bright moving objects become visible whereas dark objects disappear.

There is no fixed definition of what constitutes “long”, the intent is to capture the eﬀect of passing time. It can be from one second to several minutes.

In order to achieve long shutter speeds without burning the image, we use neutral density filters on the lens. ND filters reduce the amount of light entering the lens. The darker the ND filter glass, the more f-stop reduction can be achieved.

Mathematical tables and apps that calculate the shutter speed given the ND filter number, but most photographers simply do it by trial and error.

The darker the ND filter, the more leeway we have with shutter speed (2 min. exposure and 2,5 min exposure will not burn your image, only change a bit the blurring eﬀect).

A tripod and a remote shutter control are also needed.

The long exposure photography technique is being used in fine art photography to achieve minimalist scapes and in architectural photography to blur the movement of people and cars. The blue hour / dusk is long exposure since it requires slow shutter speeds due to low light conditions.

Examples of long exposure - waterscapes

Exposure time: 1/250

Aperture: f5.6

ISO 100

Exposure time: 1 sec

Aperture: f11

ISO 100

Pygmalion Karatzas

Exposure time: 272 sec (4,5 min)

Aperture: f11

ISO 100

final post-processed image

â&#x20AC;&#x153;Low key imageâ&#x20AC;?

Examples of long exposure - waterscapes Pygmalion Karatzas

Exposure time: 30 sec. Filter - Nik Collection (plugin) - Silver Efex Pro 2 - Structure -50%

Filter - Nik Collection (plugin) - Silver Efex Pro 2 - Structure +20%

Exposure time: 73 sec.

Examples of long exposure - waterscapes, landscapes

File - Automate - Photomerge (for panoramic stitch)

Pygmalion Karatzas

Exposure time: 136 sec.

Examples of long exposure - architecture

Filter - Blur - Radial blur...

Pygmalion Karatzas

Examples of long exposure - previsualization

Pygmalion Karatzas

Examples of long exposure by Michael Kenna

The idea of capturing a moving ship is used in the next example in a diďŹ&#x20AC;erent brief...

Exposure time: 4 sec

Aperture: f9

ISO 100

7 am

Brief: boutique hotel in Syros island harbor town, Ermoupoli

Pygmalion Karatzas

Exposure time: 25 sec

Aperture: f22

ISO 50

7:30 pm

Example using long exposure when you cannot avoid people in the frame

Pygmalion Karatzas

Example using long exposure to capture light trails

Pygmalion Karatzas

The mood and aesthetic of long exposure can be achieved not only with

long shutter speeds but also in post processing.

John Kosmopoulos

Long exposure shot

Irene Kung

Not a long exposure shot

Pygmalion Karatzas

Combination of the two

creative ways to use the long exposure technique in fine art photography

Michael Massaia

using the long exposure aesthetic in non long exposure images - Irene Kung

examples of long exposure in color

Fabrice Silly - muted colors

Vasilis Tangoulis - golden hour

Xavier Ray - saturated colors

Tips: 01. A cloudy sky is better for long exposure photography (but donâ&#x20AC;&#x2122;t let that stop you from using this technique if there are no clouds).

02. Scouting the location to find the right spot, and setting up your gear for LE takes time, so ideally allow more time for such preparations.

03. Compose and focus before you add the ND filters.

04. Select bulb mode if exposure times are over 30 sec. You will need a remote shutter release.

05. Close or cover viewfinder to prevent light entering the camera during the exposure.

06. Noise reduction camera feature: it takes double the time (takes a second image immediately after the first) in order to find the hot spots and subtract them.

07. Overcast, dawn, dusk conditions allow you longer exposures (when you have only one ND filter available to use and cannot stack more together).

08. Calculating the approximate exposure time based on your ND filter value and settings can be done with apps and tables, but it is recommended to experiment with a few diďŹ&#x20AC;erent exposure times for the same scene to actually see the results and decide which cloud movement and/or water smoothness you prefer.

CLASS 5: Typologies in architectural photography

Typology and sub-genres in architectural photography through various artistsâ&#x20AC;&#x2122; works.

Photographic types: from topographic to editorial to expressive Beijing National Stadium, China Iwan Baan

- representational, objective, - “pure” applications include historic survey and documentation, archeology, anthropology, building science, restoration, etc. topographic / documentary

Tim Griffith

Irene Kung

- a synthesis of points of view between photographers, architects, publishers, - mostly for use within the architecture industry, - firms’ portfolios, competitions, publications, real estate, etc.

- subjective, abstract, expressionistic, impressionistic, multi-media, - primary point of view the photographer’s inner vision, concept, technique - gallery prints and display, public or private space decoration, exhibitions, etc.

editorial / commercial

expressive / fine art

One way to illustrate the typological spectrum is by looking at different interpretations of the same subject.

Photographic types: from topographic to editorial to expressive A second way to illustrate the typological spectrum is by looking at images of similar subject and shooting method: Even though, all three images are taken from a carefully selected elevated vantage point, and the subjects are cropped to extend indefinitely beyond the frame, the viewing experience is quite different.

Michael Wolf, Architecture of Density, 2005.

Wolf’s image from the high-rise residential towers of Hong Kong, confronts the global urbanisation issues of human scale and density. topographic

Yiorgis Yerolymbos, Tower 25, 2016.

Yerolymbos’ image brings the viewer to a portion of the building as a close-up facade details and yet it captures all key elements of the design in a masterful architectural abstractions. editorial

Shannon McGrath, Guggenheim Bilbao, 2011.

McGrath’s image is using the sculptural and chromatic features of this iconic building as her motifs and brushes in an expressionist painting. expressive

Photographic types: from topographic to editorial to expressive

Siena International Photography Awards 2018

Yiorgis Yerolymbos

(documentary)

Matt Portch

(editorial)

Pygmalion Karatzas

(expressive)

A third way to illustrate the typological spectrum is by looking at the results of international photography competitions. Selected results from 16 competitions from 2014 to 2018 have been catalogued.

Photographic types: examples of the typological spectrum from international photography competitions.

list with 17 competitions can be viewed here: https://www.pygmalionkaratzas.com/integrallenscompetitiontypes

Photographic types: authorships - Michael Wolf (topographic / documentary)

Photographic types: authorships - Marina Moron (topographic / documentary)

Photographic types: authorships - Fernando Guerra (editorial)

Photographic types: authorships - Iwan Baan (editorial)

Photographic types: authorships - David Burdeny (expressive)

Photographic types: authorships - Fabrice Silly (expressive)

more examples on the typologies in architectural photography can be viewed here: https://www.pygmalionkaratzas.com/paperintegrallens https://www.pygmalionkaratzas.com/editorialmain

CLASS 6: Architectural photography aspects

01. People

02. Decisive moment

03. Movement

04. Daylight

05. Blue hour, dusk

06. Context

07. Point of view

08. Unavoidable

09. Content

10. Composition

11. Vertical lines

12. Shooting raw

13. Natural high dynamic range

14. White balance

15. Patterns, details

16. Gear

17. Formats, aspect ratios

18. Tilt shift

19. Construction sites, works in progress

20. Interior

21. Bad weather

22. Previsualisation

23. Collaborations

24. Long exposure

25. Aerial

26. Editing

27. Iconic, the â&#x20AC;&#x153;money shotâ&#x20AC;?

28. Color, B&W, muted / desaturated

29. Typological spectrum

30. Series, narratives

31. Time-lapse, videography

32. Post-processing

33. Logistics, research

34. Styling, setting up scenes

35. Commercial architectural photography

36. Integral approach

A separate presentation dealt with architectural photography aspects:

https://issuu.com/pygmalionkaratzas/docs/ut_workshop_karatzas

Workshops in Athens: Benaki Museum Pireos, the Hellenic Institute of Architecture, Acropolis archaeological site, Acropolis Museum, Filopappou hill, Stavros Niarchos Foundation Cultural Center, Elastic Architects, Fulbright Foundation Greece.

Workshops in Santorini: Thera, Caldera, Kamari, Oia, Pyrgos Kallistis, Akrotiri prehistoric settlement, Taxiarches chapel, Prophet Ilias monastery.

Workshops in Crete: Rethymno old town and venetian harbour, Swan Beauty & Spa preserved renovated building, Knossos Palace site and Heraklion archaeological museum, Heraklion old town, house in Heraklion by Tense Architecture Network, Saint Nicolas chapel in Georgioupoli, architecture school of the University of Chania, Chania old town and harbour.

Workshops in Peloponnese: Ypsilon House in Finikounda, Methoni Fortress, Areopoli, Vathia, Tainaron Blue Retreat, Monemvasia medieval settlement, Euphoria Retreat in Mystras, Epidavros archaeological site, TRIF House in Porto Heli, B&T preserved renovated apartment in Nafplio.

In May of 2019, 3 staﬀ and 10 students trekked 2600 km of Greece by foot, bus, ferry and plane to study architecture and landscapes from the ancient classical sites to contemporary works, using photography to document, represent and express. Guided in situ by Greek architect and professional architectural photographer Pygmalion Karatzas, we shot only in RAW format and fully manual mode, post-processing in Lightroom and Photoshop. The course takes as a theme the human experience of buildings and landscape, particularly, the experience of nature and natural forces—in urban and village settings. Building on the instructors’ collaboration and scholarship of architectural photography, students engaged its expressive, editorial and documentary types, in the technology of digital production and the presentation of work. Each photographer developed a personal creative intention to guide the artistic vision. It was a time of breakthroughs, transformations and communions with people and place.

The course was designed to include landmark buildings and areas of the Greek capital, the mainland country-side and the islands within the threeweek period of the mini-term. It was also structured to have classroom presentations, on situ workshops with the instructors, assignments to explore places photographically on their own, and guest talks / guided tours with local professionals in related fields. The fast-paced rhythm of dealing with new information, people and places required for our exterior professional advancement was counterbalanced with the contemplative and reflective mindset needed for our interior personal and interpersonal development.

Exhibition: University of Tennessee Knoxville, College of Architecture + Design building.

Opening: October 27, 2019

Exhibition design: Juliana Rogers & Corley Kotler

Supervisors: prof. Mark DeKay, prof. Diane Fox

Consultant: Pygmalion Karatzas

Participating students: Allison Bierman, Riley Doty, Sydney Kilburn, Corley Kotler, Connor Morss, Delaney Philips, Sam Richwine, Juliana Rogers, Grace Shoﬀner, Caitlin Turner.

Video: ‘Greece Study Abroad Montage’ by Delaney Phillips

https://www.youtube.com/watch?v=yEPGQZK-zqA

Websites: https://mdekay.wixsite.com/utk2019greece

https://www.pygmalionkaratzas.com/workshops

https://programsabroad.utk.edu/

Acknowledgement: We would like to thank the following people who accepted our invitation to present their work to our students or assist in the program:

Christina Papadimitriou, director Hellenic Institute of Architecture,

Yiorgis Yerolymbos, photographer,

Prof. Despoina Dimelli, University of Chania Architecture School,

Maria Koundouraki, architect Rethymno,

George and Maria Kalikakis, owners of house in Heraklion,

Tilemachos Andrianopoulos, TENSE Architecture Network,

Theo Sarantoglou Lalis and Jonathan Cheng, LASSA architects,

Kostas Zouvelos, architect, owner, Tainaron Blue Retreat,

Euphoria Retreat stuﬀ,

Sergey Fedotov, architect and owner TRIF House,

Konstantinos Grigoriadis, architect, project manager Villa White & Amanzoe,

Valia Foufa, architect Nafplio,

Ria Vogiatzi, Elastic Architects,

Vassilios Bartzokas, Design Ambassador, Archisearch

Els Siakos Hanappe, Greek Program Coordinator Fulbright Greece,

Cornelia Hack, program manager CEPA Abroad,

Michael Saenz, programs abroad coordinator UTK.

Mark DeKay, architect, professor  M. Arch, Tulane University, New Orleans, LA, 1984  M. Arch, University of Oregon, Eugene, OR, 1992

Prof. DeKay has visited Greece three times. He has taught at UT since 2001 and served for four years as Head of Graduates Studies. Prof. DeKay specializes in sustainable design theory and tools. He is author of Integral Sustainable Design: transformative perspectives, the first book to apply Integral Theory to design, and primary co-author of Sun, Wind, and Light: architectural design strategies, 3rd ed. (2 volumes), which considers the form-generating potential of climatic forces. Other work focuses on knowledge structures for design, green infrastructure for downtowns and watersheds, urban form for daylighting, and climatic neighborhoods. He has two national AIA teaching awards, the UT Chancellor’s Award for Teaching Excellence and the UT Chancellor’s Award for Research and Creative Achievement. He is a Fulbright Fellow and currently serves on the roster of Fulbright Specialists. This study theme builds on DeKay’s current book eﬀort, Felt Form: Experiential Design Schemas, co-authored with Prof. Gail Brager from U.C., Berkley. His international experience includes a Fulbright to India, research consulting in Australia and Italy, a faculty development leave in Scotland, a program assessment in Singapore, invited keynotes and workshops in Lebanon, South Africa, and Scotland, along with international papers resented in Hungary, Peru, Italy, the UK, and Canada. DeKay collaborates on research and scholarship with colleagues from Scotland, Australia, Lebanon, Iraq, China and (the foreign country of) California. His books are translated into Chinese, Portuguese, French. He is currently collaborating on an Arabic language derivative book project.

Susanne Bennett, editor, lecturer, coach

Susanne holds a degree in anthropological archaeology from Columbia University and has a long career teaching architects and speaking internationally. In addition, working in New York City, she represented an architectural photographer with an international practice.

greenvisionstudio.org/in_form/

Pygmalion Karatzas, architect, professional architectural and fine art photographer  B.Sc. in Architecture, Technical University of Budapest Hungary, 1995  M.Sc. in Urban Design, Heriot-Watt University, Edinburgh College of Art, UK, 1997

Pygmalion Karatzas studied Architecture at the Technical University of Budapest, Urban Design at Heriot-Watt University in Edinburgh, and practiced architecture for 12 years. Since 2013 he is focusing systematically on architectural and fine art photography, producing a portfolio of 250 architectural, commercial and artistic projects from Europe, USA and Middle East. His images are regularly featured in Greek and international media, have received 68 distinctions from leading photographic competitions and the prestigious Fulbright Artist Scholarship award 2015-2016, and are part of private and public collections. Since 2014 he is the photo editor for the Danish Architecture Center and a contributing photographer to Arcaid Images London, iStock Getty Images, and Adobe Stock. Divisare Atlas of Architecture ranks him among the top 100 architectural photographers worldwide. He has participated in exhibitions and fundraising in Greece, Italy, France, UK and USA, and produced 7 collections, with the ‘Integral Lens’ book receiving 3rd place at the PX3 Prix de la Photographie Paris and shortlisted at the Trieste Photo Days Book Award. 'Nortigo architectural abstractions' received 2nd place at the Moscow International Foto Awards. Through photojournalistic reportages, collaborations with architectural firms, businesses and organisations, as well as self-initiated projects, he exhibits his passion and dedication to the study, representation and dissemination of the built environment and its broader role as a cultural asset.

Website: http://www.pygmalionkaratzas.com

Instructors’ Scholarly and Teaching Collaborations Mr. Karatzas spent five months in the US as a Fulbright Artist from Greece. Prof. DeKay was his faulty sponsor and UTK, the host institution. During this time Karatzas worked with students in design studios and in school-wide workshops and gave a public presentation of his work. He is familiar with UT and is design school and students. “Integral Lens” was the theme of Karatzas’s Fulbright project, and DeKay wrote a book called Integral Sustainable Design. Both use “integral theory.” Karatzas and DeKay collaborated on an extensive paper about an Integral theory-based approach to architectural photography, the first of its kind, which was presented at the Integral European Conference, in May 2018, in Budapest. DeKay travelled to Greece in October 2017 to work on the collaborative project. The first min-term proposal was an outgrowth of their shared creative and theoretical interests. DeKay returned to Greece in June, 2018 and the pair conducted additional detailed planning for the first Greece mini-term, which was successfully run in May 2019.

Disclaimer  The publisher and authors of this book and all products related to this book have used their best eﬀorts in creating this product. Neither the publisher nor the authors make any representation of warranties with respect to the accuracy, applicability, fitness, or completeness of the contents of this edition and assume no responsibility for errors or omissions. The material presented in this publication have been used for educational / academic purposes only.

Credits  Author: Pygmalion Karatzas

Collaborators: Mark DeKay, Susanne Bennett

Editor: Pygmalion Karatzas

Web edition: October 2019

01. ’9 photo composition tips (feat. Steve McCurry) published on youtube by COOPH:

https://www.youtube.com/watch?v=7ZVyNjKSr0M

02. ’Visual Flow: Mastering the Art of Composition with Ian Plant’ publishing on youtube by B&H Photo Video:

https://www.youtube.com/watch?v=7ZVyNjKSr0M

03. Arcspace presents the architectural photography series, published by The Danish Architecture Center, edited by Pygmalion Karatzas:

https://arcspace.com/thecamera/

04. ‘Integral Lens - exploring a multi-perspectival approach to architectural photography’, conference paper:

https://www.researchgate.net/publication/325071955_THE_INTEGRAL_LENS_Exploring_a_MultiPerspectival_Approach_to_Architectural_Photography

Photographers from sources 4 & 5 mentioned in this presentation: Iran Baan, Tim Griffith, Irene Kung, John Kosmopoulos, Michael Wolf, Yiorgis Yerolymbos, Shannon McGrath, Matt Portch, Siyuan Ma, Hans Wichmann, Peter Steinhauer, Joel Tjintjelaar, Shinya Itahana, Ralph Graf, Holger Schmidtke, Emmanuel Monzon, Franklin Neto, Jeffrey Milstein, Philipp Schaerer, Jim Stephenson, Tony MCateer, Martin U Waltz, Sebastian Weiss, Miltiadis Igglezos, Julia Anna Gospodarou, Marco Grassi, Zoe Wetherall, Tomasz Lewandowski, Kim Holtermand, Friederike Brandenburg, Marry Anne Chilton, Gian Giacomo Stiffoni, Marina Moron, Rui Palha, Diego Van Der Zwan, Fernando Guerra, Thomas Mayer, Michael Kenna, Fabrice Silly, Michael Massaia, Akira Takaue, David Burdeny. Adam Mork, NAARO, Vasilis Tangoulis, Xavier Ray, Andrew Prokos, Mitsis Hotels, Mabry Campbell.

For further information contact: pygmalionk@hotmail.com