par negotiis, neque supra

I began photographing architecture at the age of fourteen, using my father's Voigtländer, and operating a small darkroom in our basement. Today, I use everything from 35mm to large format field and view cameras. I have photographed over 4,000 buildings for historic surveys, 106 Review, National Register of Historic Places nominations, National Landmark nominations and preservation easements.

I have photographed buildings for architectural firms, preservation consultants and local governments. My photos have been published in the National Park Foundation's Complete Guide to National Landmarks, "National Landmarks, America's Treasures" and the college textbook, "A Global History of Architecture" required in all accredited architecture programs.

My goal is to present the architects' work in the best possible way and to do so accurately, without bringing in unnatural lighting schemes or imposing my own "vision" on the project.

I specialize in historic architecture, and although the majority of my work is black and white (required for National Register and Historic American Building Survey submissions) I am well versed in color and digital mediums as well. I can provide images in almost any media, size and resolution required, and am among the last area photographers still producing traditional fiber based, chemically processed, archival quality black and white prints.

Serving as principal photographer for the recently released American Institute of Architects Guide to Kansas City Architecture & Public Art has been my proudest achievement to date. In all, I photographed over 240 structures and logged over 2,000 miles in little more than eight weeks during the late winter of 2000. While the majority of photographs are my work, I can't claim them all. Many shots were supplied by some of KC's finest architectural photographers. The beauty of the final result, however, is due to the skill and good planning of art director Sära Keehn, formerly of Jane Mobley Associates, now doing free-lance design.

I can be reached via e-mail at bfinch@f-stop.com

latin

amnis operis contemporary works

alieni temporis flores flowers from a bygone time

ars artium omnium conservatrix the art that is the preserver of all art

deceptio visus a deception of vision

ex integro anew

index locorum index of places

non nova sed nove not new things, but in a new way

par negotiis, neque supra equal to his business, and not above it