PRINT May 2001

Julius Shulman

I HAD THE GOOD FORTUNE OF BECOMING acquainted with Rudolph Schindler not long after meeting the first architect in my life, Richard Neutra. When I photographed Neutra’s newly completed Kun residence in March 1936, it was the first modern house I had ever seen. Then, toward the end of 1936, I was invited to Kings Road to meet Schindler, who had just completed arrangements for a new project. Out of that meeting ensued a body of architectural photography.

I recall Schindler’s comments on reviewing one of my first assignments: “Look at this interior scene. It is equally illuminated on all sides. That is not natural.” He pointed out that “whether from natural or artificial sources, no two walls receive equal lighting.” These comments became deeply embedded in my subsequent practice. Lighting is central to the photography of architecture, and Schindler was the only one to remark on what would in

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