Whilst studying at the School of Architecture and Allied Arts at New York University, Ezra became interested in photography, in particular architectural photography. During the course he began making lantern slides and photographs of architectural models, drawings and sculpture. After his graduation in 1939, he concentrated on photography.
During World War II, he taught photography at the Army Signal Corps Photo Center in New York City. Two decades later, Stoller founded Esto Photographics, the agency that has become one of the profession’s best known and most respected houses of photography, which is now run by Erica Stoller, his daughter.
In 1961, he was the first recipient of the AIA Gold Medal for Photography.
Having studied as an architect, it gave Stoller’s an architect’s eye and discipline that moved him to capture on film the structure and spirit, body and soul of the icons of Modern architecture, from the Louis Kahn’s Salk Institute in La Jolla to Eero Saarinen’s TWA terminal in New York and close to all of the great postwar buildings in between. Often, the image we carry in our mind’s eye of any particular great building was first seen through a lens by Ezra Stoller. He managed, in a career that spanned more than five decades, to capture not only the architecture, but also the times and culture embodied in each piece of work. His photos continue to be featured in countless books and magazine articles, and in art exhibitions worldwide.
In 1990 Ezra's photographs were published in Modern Architecture: Photographs by Ezra Stoller, which features 400 of his most important works, along with his writing about the pictures, the buildings, and the architects who designed them
On 29th October 2004, Ezra passed away after complications following a stroke.
Having studied as an architect, it gave Stoller’s an architect’s eye and discipline that moved him to capture on film the structure and spirit, body and soul of the icons of Modern architecture, from the Louis Kahn’s Salk Institute in La Jolla to Eero Saarinen’s TWA terminal in New York and close to all of the great postwar buildings in between. Often, the image we carry in our mind’s eye of any particular great building was first seen through a lens by Ezra Stoller. He managed, in a career that spanned more than five decades, to capture not only the architecture, but also the times and culture embodied in each piece of work. His photos continue to be featured in countless books and magazine articles, and in art exhibitions worldwide.
In 1990 Ezra's photographs were published in Modern Architecture: Photographs by Ezra Stoller, which features 400 of his most important works, along with his writing about the pictures, the buildings, and the architects who designed them
On 29th October 2004, Ezra passed away after complications following a stroke.
Examples of Ezra's photography:
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Falling Water | Finnish Pavilion |
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Guggenheim | New Harmony |
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Seagrams Interior | Chamberlain Cottage |
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Kitt Peak | Notre-Dame-du-Haut Chapel |
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Manufacturer's Trust | Whitney Interior |
Evaluation of Images
Ezra's photographs show good use of light, texture and shape. With these images being in black and white the shadows are clearly defined with the texture and contrast of some photographs emphasised by the use of the black and white film.
The unusual shapes and forms in the Finnish Pavilion photograph, with the subtle lighting and the contrasts, not just in light but also with the inclusion of the plant in the bottom right of the photograph and the unusual shapes of the building.
The unusual shapes and forms in the Finnish Pavilion photograph, with the subtle lighting and the contrasts, not just in light but also with the inclusion of the plant in the bottom right of the photograph and the unusual shapes of the building.
The shapes and forms are shown clearly, especially in the case of Kitt Peak, where the different tones which are lit by the natural light and the unusual angle of the shot with the almost diagonal line and the shadows created make this image very interesting.
With Seagam's Interior the contrast of the light from the windows and the shadows creating leading lines, leading the viewer into the photograph.
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