#hélène binet

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Hélène Binet.

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Zaha Hadid | Hélène Binet | Domus 

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Kashef Chowdhury, A Glass Labyrinth in Venice, With essays by Robert McCarter and Alejandro Aravena, Photographs by Eric Chenal and Hélène Binet, Park Books, Zürich, 2018. Designed by Bruno Margreth, Martina Brassel

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Architectural photography the beauty of ancient temples

TWA Terminal at Idlewild (now JFK) Airport,Ezra Stoller.

Architectural photography the beauty of ancient temples and modern skyscrapers

Until the middle of the 20th century, architectural photography was valued for its documentary nature. The author was required to capture the object as accurately and clearly as possible, which left little room for creative searches. After the 1950s, private architects began to employ photographers to create portfolios and present their work, bringing the genre closer to advertising photography. At present, representatives of photography usually strive to present a building in a picturesque and expressive form, while not forgetting about believability. Hotels, restaurants, and real estate agencies use the services of architectural photographers to get their ads effective. Read the full article

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The Secret of the Shadow, 2007. Photo by Hélène Binet.

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Chanel Haute Couture Collection Spring/Summer 1954. Marie-Hélène Arnaud in a black Chantilly dress inlaid with embroidered entredeux strips by Pierre Binet.

Chanel Collection Haute Couture Printemps/Été 1954. Marie-Hélène Arnaud dans une robe de Chantilly noir incrusté de bandes d'entredeux rebrodé de Pierre Binet.

Photo Guy Arsac

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‘A Local History’ by Edmund de Waal (2012) photog: Hélène Binet

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The photographer I chose is Hélène Binet. I found her work through looking for photographers focused on architecture and similar compositions, I was pulled towards her use/focus on texture. I enjoy black and white photography, her works seem simple but pleasing to the eye. She focuses on light within spaces. She is still alive today too.

[100hands]

Thanks to SwissNex and the Swiss Consulate, it was our good fortune to have had some time with Mr. Peter Zumthor, the great Swiss architect here in Bangalore. As part of his visit he saw BV Doshi’s masterwork, the Indian Institute of Management Bangalore, the Bhoga Nandeeshwara Temple, Bangalore International Centre and MAP.

I also had the opportunity to engage Mr. Zumthor in an hour long conversation about his work and realizations. This event felt like the opening night of a big Bollywood blockbuster. Mr. Zumthor’s work and writings find a particular resonance in India. His ideas of work predicated on place, memory, materiality and presence, a word he uses often, make direct connections to our own traditional buildings and the work of masters like Le Corbusier, Louis Kahn, Charles Correa and BV Doshi.

I haven’t visited any of Mr. Zumthor’s buildings, but from his drawings and ethereal photographs often by Hélène Binet, they seem archaic, primordial – evoking the sense of refuge within geological formations. His work and methods seem anachronistic – reminding us of the rigour and care architecture demands and the single minded pursuit of emotionally charged space. Mr. Zumthor’s work attempts to discover ‘deep structure’, drawing out a shared recapitulation of ancient memory.

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Hélène Binet.

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Most contemporary architecture photography "looks the same" says Hélène Binet

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Artist Research:

Hélène Binet:

Héléne Binet is a photographer whose focus is on capturing architecture. Within her work, she emphasises the importance of lighting and shadows to show the details of the building and create an atmosphere the viewer can pick up on. She works exclusively with analogue and shoots in black and white, which has a great effect on her work, and the lighting is clearly defined, and the greyscale feels fitting with the concrete future-esque-looking buildings she captures. This is useful to my own work, as when I want to manipulate my photographs, the colouring needs to reflect the scenery and the type of building within the photograph. In an Interview with Dezeen Magazine Binet expresses her thoughts on digital manipulation regarding architectural photography stating, "Digital has made architectural photography very slick – sometimes you don't know if it's a photo, or if it's a rendering, and that I find very disturbing, [...] If you've spent five years to ten years making a building, you want to make sure that the photos are like a building and not like a rendering." This point is interesting to me and my own work as I am working with architecture in my photo manipulations. It makes me reflect on how by manipulating even the smallest thing such as colour, the entire image can change, which reflects the building within the image.

Pete Sieger:

Pete Sieger is a photographer whose main focus is on architecture. I found that he writes articles on his own website about his practice, and at one point he wrote about photo manipulation. He states, "I’m at once ashamed and proud of the finished image – ashamed of the extent to which this image was altered, yet proud of the final results shown here. [...] I must admit that I’m fully complicit in this practice of digitally sanitizing architectural images. However, I remain deeply conflicted, and feel the need to establish proper limits personally. Again, where does one draw the line?" This really stood out to me and made me reflect on how manipulation affects architectural photographs, as one would expect them to depict exactly what exists. The final question Sieger asks regarding where one draws the line on manipulation has stuck with me and I think it should be considered when one is editing a photograph for any purpose other than an artwork where it is explicitly stated that the photograph is manipulated. This links back to ideas brought up in the readings I have done and will help me reflect and think when I am creating my own final manipulated image. Below is an image of Sieger's where he has edited the colouring and removed some parts of the image.

Alexander Spatari:

The last photographer I looked at is Alexander Spatari who is a travel photographer who mainly captures architecture. An image of Spatari's that I was drawn to was his photograph of a man walking towards the Coliseum in Rome. I enjoy the composition of this image with the Coliseum in a central position with the man following suit also in the centre. I think the colouring and saturation of this photograph is really interesting as the photo feels very vibrant and bright, making it very eye-catching. I think due to the scenery and time of day the photo was taken, the level of saturation and light within the image works well with the Coliseum as you can see the light through the window shapes in the walls which gives a warm glow from the inside. Figuring out how the light within the image affects the architecture and the overall image will be important for trying to create a different atmosphere in my own image.

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Peter Zumthor: I like the idea that there are certain things we have to do by hand, that we can't do everything with computers and machines and so on, that there is a quality that comes out of the making. How is it in photography?

Hélène Binet: As you know, I'm a staunch defender of photography. I love to photograph and I'm a firm believer in photography as a craft—which is also what I try to teach young people: that it's a very special form of work. I, too, like to work with my hands, and for me every shot is like a performance. I have to be the best of myself, and that for several days or several hours or for as long as the sun is good. Besides, the material is expensive, and it's heavy, so I have to really be there and be completely focused. You're not focused if you have a computer between you and the world, because then the computer makes the decisions which for you is a loss. I think the state we all strive for when we're working is a kind of trance, a state in which you make decisions with a part of your brain that works in a very special way. So it really is like performance. You have to give—and there's something magical about that! I don't believe you can achieve that if there's something else between you and the world.

How do you prepare?

How do I prepare a shot?

How do you prepare for that trance-like state?

By doing a lot of walking! I could, of course, prepare by getting to know the architect and trying to understand what makes him tick. But it's basically about going somewhere and walking and walking and walking. There's a very beautiful dimension to walking, because it enables you to feel space with your whole body, and how that space is changing all the time.

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Pas l'temps je lis (mai-juin 2023)

Pas l’temps je lis est la chronique que je tiens dans le supplément culture qui paraît chaque samedi dans le quotidien Le Temps. Ci-dessous vous trouverez la liste des livres présentés dans les chroniques. Elle permettra aux abonné.es du Temps de les retouver facilement, offrira des pistes aux lecteur.ices du blog et sera utile aux éditeurs.trices qui verront ainsi quels livres ont été retenus et auront une idée du ton de la chronique.

06 mai 2023 - Comment dorment les animaux

Les Animaux dorment, Kjersti Annesdatter Skomsvold, Mari Kanstad Johnsen, Cambourakis - Album dès 4 ans

Vive la sieste, Yuichi Kasano, L'Ecole des loisirs - Cartonné 0-3 ans

Comment dorment les animaux, Marie Stumpfova, Jiri Dvorak, La Partie - Documentaire dès 3-4 ans

13 mai 2023 - Cadeaux de naissance

Tu vois le jour, Laurent Moreau, Hélium - Livre accordéon dès la naissance

Je, Olivier Douzou, Le Rouergue Jeunesse - Album dès 3 mois

Les Images de Lou et Mouf: le chantier, la ville, Jeanne Ashbé, Pastel / L'Ecole des loisirs - Cartonnés 0-2 ans

Mes p'tits doigts, Anne Crahay, CotCotCot - Album 0-2 ans

20 mai 2023 - Le temps du voyage

Notre Voyage, Romain Bernard, La Partie - Album dès 3 ans

Le Temps est rond, Victoria Kaario, Juliette Binet, Le Rouergue - Cartonné dès 2 ans

Killiok, Anne Brouillard, Pastel / L'Ecole des loisirs - Album dès 6 ans

27 mai 2023 - Wouf Wouf !

Iggy, Alex Cousseau, Janik Coat, Les Fourmis rouges - Album dès 4-5 ans

Tout le monde a un teckel sauf moi, Charlotte Pollet, Biscoto - Album dès 4-5 ans

Chien Pourri, le grand fourre toutout, Colas Gutman, Marc Boutavant, L'Ecole des loisirs - 6-9 ans

03 juin 2023 - Trois bandes dessinées

Swamp, Johann G. Louis, Dargaud - Dès 12 ans

Béa Wolf, Zach Weinersmith, Boulet, trad. Aude Pasquier, Albin Michel - Tous âges dès 10 ans

Blancaflor, la princesse aux pouvoirs secrets, Sergio Garcia Sanchez, Rue de Sèvres - Dès 9-10 ans

10 juin 2023 - Des animaux pas si domestiqués que ça

Bonne nuit, gorille, Peggy Rathmann, L'Ecole des loisirs - Cartonné dès 3 ans

Tigre et Chat, Allira Tee, La Joie de lire - Album dès 5 ans

Hector, Fred Dupouy, Lucie Maillot, Talents Hauts - Roman dès 8-9 ans

17 juin 2023 - Que fait-on le samedi?

Jour de marché, Alice Oehr, La Partie - Album dès 3-4 ans

Tommy fait les courses, Rotraut Susanne Berner, La Joie de lire - Cartonné dès 2 ans

Pops et Mimosa. Mission salade, Emile Cucherousset, Thomas Baas, Actes Sud Junior - Album dès 6 ans

24 juin 2023 - Au coeur du végétal, les cycles de la vie

Comment naissent les arbres, Charles Berberian, La Martinière - Album dès 4 ans

De fleurs en fleurs, Anne Crausaz, MeMo - Album documentaire dès 6 ans

Végétal, Juliette Einhorn, Hélène Druvert, la Martinière - Documentaire dès 9-10 ans

[slack-wise]

Hélène Binet