flywheel
I played the part of an excited bystander in the birth of the Kiln, like an energised but disconnected flywheel. I photographed the public face of the process while eating pizza, drinking beer and answering questions. My hopes were high even as I wondered whether I had need of the Kiln.
Since it’s opening I have been in a bunch. Sometimes to have an admin day or to do some writing away from the studio, sometimes just to call in and have a coffee between jobs. I may not always grab a desk and get something done, but I call in whenever I can.
I’ve also begun using the cells as a base for my training courses, utilising the more professional feel of a proper meeting room over the coffee house/third space aesthetic that I’ve used in the past.
rob draper
Someone who was not a disconnected flywheel in the birth of the kiln was Rob Draper. As a graphic designer Rob has worked worldwide for a number of blue-chip clients. Having built his brand working in coffee-shops and libraries he was keen for Worcester to have a co-working space. He took a seat on the Kiln’s board early in the process and designed the Kiln’s interior.
Rob is both a friend and an inspiration, and standing with him in the fledgeling but flourishing Kiln he is forced to call the project finished, even as his eyes tinker with the details he’d like to tweak.
We were there to take some photos of what has been his largest canvas to date.
more wider [sic]
Having packed my architectural photography loadout, (wide, very wide, a shift and some primes), it was the 11mm Irix that saw the most action. Its manual focus lends itself to the slower, more deliberate pace of architectural photography and the scale of its field of view sucks in spatial relationships.
Keeping the sensor vertical prevents the distortion from becoming pervasive even as it makes a small room seem large, (and a big room cavernous). What it can also do is include the flow and connection between spaces that a more selective lens would not.
detail
After a pass with the 11mm we spent some time picking out details with a 16-35mm and a 50mm prime. Before grabbing the 11mm for a shot of Rob in one of the cells.
The 11mm is ace. I keep finding more reasons to pack it, which isn’t always the case with specialised glass. It was great to work with Rob and it’s always ace to photograph architecture.
