The protective covering of the Jack Colker Union 96 gas station on Crescent Drive in Beverly Hills was originally designed as part of the Los Angeles International Airport. Photographing it for a book, Tim Street-Porter drove there at twilight to get the right balance of lighting. Tim Street-Porter“Frank Gehry’s Schnabel house was designed so that each room became a separate building. Here we see a corner of the living pavilion, to the left, and the library, to the right. I formalized the composition to create a play of elements, including the palm tree, which echoes the shape of the dome on the roof. I also waited until the light was just right to delineate and separate the forms in an attractive way.” Tim Street-PorterStreet-Porter used a tilt-shift lens to make one of the most tangled spaghetti junctions in southern California look like a scale model. Tim Street-PorterLarger-than-life advertisements are part and parcel of the Los Angeles landscape. The motion blur made by the headlights of passing cars mirrors the frenetic energy of the iPod ad and the city itself. Tim Street-PorterLight adds dynamic depth to a shot of the Wolff House’s living room, in the Hollywood Hills. Tim Street-PorterShadows complement the display of a Harry Bertoia sculpture in a shot for Metropolitan Home. Tim Street-PorterOnly sunlight and open floor-to-ceiling windows were needed to balance the interior and exterior of Richard Neutra’s Kauffman House in the Palm Springs Desert. Tim Street-PorterCloudy skies at dusk emphasize the dramatic indirect lighting in the courtyard of Frank Lloyd Wright’s Sowden House. Tim Street-Porter
