Towards Authenticity: Architectural Photographer Bridgit Beyer on Confidence, Unique Perspectives, and Building a Body of Work
By Julia Gamolina
Bridgit Beyer is an architectural photographer and filmmaker based in New York City, with a background in photography and sculpture from Bard College. She has also studied at The Lacoste School of the Arts in France, and the International Center of Photography.
Her work celebrates the artistry of designed spaces and has appeared in publications like The New York Times Magazine, Architectural Digest, Architectural Record, Dwell, Surface, and Metropolis. She has collaborated with clients such as The Met, MoMA, Prada, Miu Miu, Louis Vuitton, OMA, DS+R, 2x4, Cornell University, and ESI.
JG: We're well under way into 2025 now — what is this year about for you? What have you been up to so far this year? And, what should all of us be reading about and paying attention to now?
BB: So far, this year has been about stepping into authenticity for me—both personally and professionally. I recently came out publicly as trans, and it’s been one of the best decisions I’ve ever made. Living authentically has given me a new perspective and a broader sense of possibility, not just in my career but in life overall. The amount of positive support I’ve received has been overwhelming, and it’s made me cherish my community even more. I’m trying to channel that energy into my work and see where it leads.
On that note, transgender artists and activists have been inspiring me lately. Alok is a non-binary performer, poet, and performance artist who speaks to not only the trans experience, but the broader human experience in such a beautiful way. Erin Reed is a reporter based in D.C. covering anti-trans legislation across the country. Imara Jones hosts a fantastic podcast called TransLash, and Chase Strangio, a lawyer and activist with the ACLU, was the first known trans person to argue before the Supreme Court. Their work gives me hope and motivates me to stay engaged.
Manus X Machina Exhibit at The Metropolitan Museum of Art designed by OMA. Photography by Bridgit Beyer on the cover of Architectural Record.
Now let's go back a little bit — you went to Bard for studio art. What was your medium, and how did you transition into photography as your main focus?
I studied sculpture and installation art at Bard College. My time there taught me what it takes to build a serious body of work—focus, dedication, and a willingness to explore. After college, I traveled the country for two years and no longer had access to a studio space. That’s when I switched to photography, something I had first explored while studying at the Lacoste School of the Arts in France.
Photography quickly became an extension of my vision and a new way of relating to the world. I began to see composition through the camera as a way of creating sculptural forms in a two-dimensional space. That perspective has stuck with me—and it’s why architectural photography feels so right. When I’m composing a shot, it feels like I’m turning the dial on a padlock—there’s an intuitive balance I’m sensing through the viewfinder, and when everything aligns, I feel this click. That’s when I know the image will work.
“Most people will only experience a building through photographs. I feel the weight of the years—or even decades—that go into creating these spaces, and I want to do justice to that vision so it can live on in the cultural conversation.”
Tell me about the evolution of your photography practice — how did you get your start?
I started out in NYC in the early 2000s, living in Brooklyn and trying to find my place in the arts. I was photographing the vibrant culture around me—skateboarders, BMX riders, musicians, artists, the urban landscape. Architecture was a big interest of mine, and I eventually connected with Storefront for Art & Architecture. I started photographing exhibitions for them and became part of their creative community, which was exactly what I needed: a laboratory of ideas and experimentation.
Through that work, I was introduced to OMA and photographed their project at Cornell’s School of Architecture, Art, and Planning. The university also commissioned me to create an “aerial interior” of their new open-plan studio—a kind of photographic floor plan. I built a custom camera rig to hoist my camera above the space and captured around 250 images over several days, which I later merged manually into one seamless photograph. That project completely shifted my understanding of what a photograph could be because it was not bound to a single instant or perspective.
Milstein Hall, Cornell College of Architecture Art & Planning, designed by OMA. Photography by Bridgit Beyer.
I did my thesis in that building — Milstein Hall — and have a piece of that photographed displayed at home! It’s really very special.
Looking back at it all, what have been the biggest challenges? How did you both manage through perceived disappointments or setbacks?
One of the biggest early challenges was learning the business side of photography—something I wasn’t taught in school. I turned to organizations like ASMP, APA, and the International Center of Photography to get my footing. There’s a lot to navigate—contracts, bidding, production logistics, managing a team. But gaining that knowledge gave me agency in my career.
When it comes to setbacks, it took time to build confidence in myself and my work. A photo shoot—especially on the streets of New York—can throw anything at you. Flexibility and resilience have helped me thrive — I learned that even when things didn’t go to plan, I could adapt and move forward.
“The parts of you that make you unique can be your biggest resource.”
What has surprised you? What has encouraged you?
There have been so many “is this really happening?” moments—photographing The Shed as it was moving for DS+R, being sent by The New York Times Magazine to capture the Dodge Viper factory in Detroit, having my work in the permanent collection of The Met, or photographing above One World Trade Center in a helicopter while it was under construction. I knew early on that I wanted my career to be interesting, and photography has delivered on that promise tenfold.
What surprised me most is that once I found a niche I had a natural aptitude for—architectural photography—the work started coming to me. I’d been trying to promote myself in other areas with little success, but once I aligned with the right kind of work, everything clicked. Seeing my work on magazine covers, in major publications, on museum websites—it’s all incredibly encouraging. But what means the most is hearing how excited my clients are when they see the images. I see photography as a collaboration and making that process rewarding for everyone involved is a big part of what drives me
Who are you admiring now and why?
One of my favorite photographers is Nan Goldin. Her work documenting queer and trans communities in the 1970s was groundbreaking—especially at a time when those communities were being victimized or ignored. She’s also been a tireless activist, protesting the lack of the government’s response to the AIDS crisis and calling out pharmaceutical companies involved in the opioid epidemic. Her bravery and commitment are deeply inspiring. It reminds me to keep pushing toward my own authenticity.
Louis Vuitton, 5th Ave NYC. Photography by Bridgit Beyer.
Prada SoHo, NYC. Photography by Bridgit Beyer.
What is the impact you’d like to have on the world? What is your core mission? And, what does success in that look like to you?
I want to live authentically and show up in the world as close to my true self as possible, especially when it comes to gender. Hopefully, other people will see that and feel that there is a little more space in their lives to do the same. At a time when our cultural ideas around identity seem to be contracting, I want to expand.
I also see myself as an interpreter for architects and designers. Most people will only experience a building through photographs. I feel the weight of the years—or even decades—that go into creating these spaces, and I want to do justice to that vision so it can live on in the cultural conversation.
In terms of success, I remember felling lucky that on one shoot I got to wake up at 3 a.m., drive an hour through the desert, and photograph a building at sunrise. Traveling with a bag full of cameras and lenses to capture beautiful spaces makes sense to me. I feel aligned with the work I do and for me, that is enough.
Finally, what advice do you have for those starting their career? Would your advice be any different for women?
I would say that as someone who is queer and transfemme — the parts of you that make you unique can be your biggest resource. I think one of the main things that makes a successful body of work is a unique perspective. What sets you apart from the people around you is the best place to look for inspiration. The stories that are not being told are the ones we as a society need to hear the most.
My advice for women is based on what I’ve learned from other women: community, empathy, collaboration, and mutual support are everything. I see it in organizations where women lift each other up. Madame Architect is a perfect example—reading stories from women at every stage of their careers is so inspiring. I’m honored to share mine here.
This interview has been edited and condensed for clarity.