Christopher Barrett | One Point Perspective
photography, architecture, photographer, architectural photographer, interior design, furniture
page,page-id-1815,page-template,page-template-blog-large-image-whole-post,page-template-blog-large-image-whole-post-php,ajax_fade,page_not_loaded,,vertical_menu_enabled,qode-child-theme-ver-0.0.1,qode-theme-ver-6.3,wpb-js-composer js-comp-ver-4.3.5,vc_responsive

One Point Perspective

a day in the life of...

07 Feb Wood House for Brininstool + Lynch

This is something I’ve been meaning to post for quite some time.  We spent most of a week capturing stills and motion of this house for long-time client Brininstool + Lynch.  The home is sleek and modern with the exquisite detailing that I’ve come to expect from B+L.  At the same time, though, it’s very earthy.  I feel like the design has achieved a beautiful balance between modernism and comfort.  After four days of shooting, I felt right at home… as evidenced below.

The project also netted us a couple magazine covers :)

Below is a compilation of our footage, not really edited but just spliced up for convenience.  I know there’s got to be a film in here somewhere!

Read More

17 Jan Whitney Gets Krafty

Whitney Architects called on us last year to photograph this story of a great corporate campus renovation.  The firm was tasked with updating the 25 year old 525k Sq-Ft facility while incorporating much of the client’s various branding within the palette.  The workplace is entirely open office and there are eight test kitchens on site.  I think the designers did a great job here and we had a lot of fun playing with the various spaces over a couple weekends.


Read More

23 Dec Eyes to the Sky

Here is another series of images I’ve been developing lately as a personal exploration.  It’s all shot on Rollei 25 black and white film.  I began with the Rm3d and a roll film back but have moved to a Hasselblad 501cm.  The ‘Blad allows me to work much faster and handheld (even with the slow film).  This new film stock from Rollei is beautiful in that it’s grain is so fine that enlargements have less visible grain than Tri-X in 4×5.

Read More

20 Nov Palisade Launch for Nemschoff

We had a large project this year helping out our friends at Thesis with the launch of Nemschoff’s new line of healthcare furniture, Palisade.  We began by shooting motion and stills at Herman Miller’s Greenhouse location in Michigan.  Our motion footage was all shot on our RED Epic (of course) while the stills were captured using the Sony A7r.  I typically use my Phase One IQ 260 for all of my furniture shoots but there were some interesting workflow things we could do with the Sony that intrigued me (more on that in a coming post).

One of the more fun aspects of this shoot was an interview that we filmed at the Eames Home in Pacific Palisades, and by “fun”, I mean transcendent!  For any fan of Mid-Century Modern design, spending a day at the Eames Home is something of an architectural pilgrimage.  We had the pleasure of filming Palisade’s designer, Jess Sorel as interviewed by Eames Demetrios, the grandson of Ray and Charles.  Yeah, pretty cool.

The Palisade line itself represents some of the most thoughtful design I have come across within the healthcare field.  They’ve actually just won Best of Competition at Contract Design’s Nightingale Awards.

Anyway, here’s the little film we did and a few of our stills beneath.

140301_005 140301_004 140301_001



Our little crew


Read More

12 Nov New Old School Camera

I can’t really explain why, but I’ve been intrigued by the weird 4×10 format for at least fifteen years now.  Having always been drawn to panoramic images, my appreciation of the long ratio has been recently compounded through doing so much cinematography work.  I always seem to be framing those projects to 2.4 or 2.35 which is very close to the 4×10 ratio. I’ve shot a lot of film over the last year on personal projects, have resurrected my drum scanner and am really enjoying the mystique and the workflow of shooting analog again.  About a month ago I caved in and purchased a 4×10 camera from Chamonix View Camera in China.  The Chamonix is a lightweight field camera constructed of teak, aluminum and carbon fiber.  Hugo Zhang, Marketing Rep for Chamonix and a large format shooter himself, was very helpful in getting me set up with the right kit.  The craftsmanship coming out of the Zhejiang Province studio is exceptional.  The Chamonix is light to carry, quick to setup and easy to operate from under the darkcloth… not to mention, it’s damn cool looking.

I’m processing the color negs (which I have to cut down from 8×10 stock) in Unicolor C-41 chemistry, which I’ve never done before.  It’s actually just as easy as souping black and white.  Today I’ll be receiving Jobo’s new CPP-3 processor which should give me very accurate and repeatable results with their Master Drums that I’ve already been using.

Read More

14 Mar The Balance of Art and Commerce

Whenever I’m speaking to a group of photographers (or any other artists for that matter) one of the things I talk about in my work is the importance of striving to maintain a balance between your art (or personal work) and the work you do for hire.  This was one of the first lessons I learned from Marco Lorenzetti whom I assisted for about a million years ago.  I’m not saying that it is actually possible to maintain a perfect balance between the two… but it’s something one should definitely strive for.

Here’s how I explain the dichotomy:  commercial work is something working artists do on a nearly daily basis (I’m talking about people who support themselves with their art).  Some see this daily grind as selling out, or drudgery compared to the pursuit of strictly “personal” work.  I, however, see my commercial work as a way to hone my craft.  My vision has become much more refined through the constant exercise of composing and lighting images for my clients.  Collaborating with other artist (art directors and architects) has allowed this development to proceed exponentially faster than it could have in an isolated practice.  It also certainly helps that my “job” requires the use of high-end tools that most fine artist could never afford.  When I do focus on my own art work, I have wonderful tools at my disposal.

The balance I have found can best be described thusly: my commercial work has trained me to be a better artist and given me the tools so that that work becomes a joy to do.  The fine art work keeps me moving in fresh directions.  It feeds the soul and reinvigorates the work that I do for hire.  While the two are often very different, both in subject matter and in aesthetics, they form a symbiosis that is a delicate and beautiful thing.

Below are the first few of a new series of personal work that I have just begun that is actually very closely aligned with a series of commercial work that I do for Cumberland Furniture.  It has evolved from images that I have pursued under the art direction of Michael Barile, who has been a tremendously inspiring influence.

OnSet 1

OnSet 2

OnSet 3

OnSet 4



Read More

02 Dec Solitaire Existence


A favorite client of mine, Cumberland Furniture, recently had us up to their studio for a few days to photograph their new Solitaire line.  We always have a lot of fun working with Rob from Cumberland and Art Director, Michael Barile.  I got to play architect for a few days, configuring walls and floor panels to suit our compositions.  While we most often shoot with HMI and Strobe, I always do these studio shoots with tungsten lighting as it gives us more tools to work with.  I find in general that tungsten sources are easier to create really finessed lighting with.  You can be so much more “surgical” with them than you can with strobe. Everything was shot on our new IQ 260 back with the Arca view camera.


CumberlandBlog_002 CumberlandBlog_003 CumberlandBlog_004

CumberlandBlog_005 CumberlandBlog_006 CumberlandBlog_007

CumberlandBlog_008 CumberlandBlog_009



Read More