R2 Photography LLC

SAP Newsletter-Planning Your Architectural Photography Project

2012-01-10T07:05:00.000-08:00

Below is an outline of typical planning milestones we have found to lead to a successful team effort with our clients.

Image Requirements Discussion
Before our initial meeting it is important that you and your design team identify views that best represent your designs. Questions to discuss include:

• Are there any specific concepts/elements/features you want highlighted?
• Are there areas that illustrate creative problem solving by your team?
• Are there specific “must-have” interior and exterior views?

After discussing and listing all the desired images, prioritize those images in order of importance.

Site Visit
The Site Visit is vitally important for several reasons:

• Face-To-Face Discussions. We review your desired shot list and identify them in the facility. Notes are made concerning the specific expectations of individual shots and any challenges or requirements to create your vision. We will also discuss logistical requirements.

• Facility Representative Coordination. We can discuss with them what is happen during the assignment. They can ensure all lights are in working order,undesirable items are removed, landscaping/cleaning, various “housekeeping” items completed, etc. We don’t want them surprised by cases of equipment and several individuals descending on their facility for a day or more. Without their cooperation, it would be nearly impossible to complete the project.

• Technical Preparation. Color quality and light levels are measured and notated to determine technical requirements for illumination and color correcting . Scouting photographs are also taken which will be posted to your private section of our web site for review to prepare for the final photography meeting.

Site Specific Checklist
After the Site Visit we will provide you a checklist of items and details that need to be addressed or corrected prior to the photography.

Final Photography Meeting
Usually performed via telephone, together we will review your online scouting photographs and the Site Specific Checklist. We will agree on specific final views to be performed the day of the assignment.

Whether you were there or not, and whether we are your photographer on a project or not, if you have any questions or comments about commissioning architectural photography, please feel free to drop us a line anytime. We'd be happy to help!

Kimberly Blom-Roemer
Photographer
R2 Photography, LLC
r2-photography.com

866-722-9506

2011-Happy Holidays from R2 Photography LLC

2011-12-14T07:38:00.000-08:00

Happy Holidays

and a

Prosperous New Year

from everyone here at

R2 Photography Now A State of Louisiana Certified Small Entrepreneur (Hudson Initiative) (SEHI) Vendor

2011-12-12T08:40:00.000-08:00

FOR IMMEDIATE RELEASE (December 12, 2011)

French Settlement, LA - R2 Photography, LLC (r-squared), one of the regions only photography services that specialized in architectural and aerial photography, is now a Certified Small entrepreneur (Hudson Initiative) (SEHI) vendor for the State of Louisiana.

The Small Entrepreneurship (SE) Program, also known as the Hudson Initiative, is a goal-oriented program which encourages state agencies to contract with certified small entrepreneurships (SE's) as well as encouraging contractors who receive contracts from the state to use good faith efforts to utilize certified SE's in the performance of the contract.

R2 Photography is also registered with the Louisiana Office of State Purchasing (OSP). This registration is on the State of Louisiana Procurement and Contractor Network (LaPAC). Utilizing LaPAC, State procurement officers can easily find information on the services that R2 provides as well as complete contact information.

R2 is proud to be supporting the State's efforts to, "…continue to look for ways to improve existing programs and create new and innovative programs to obtain the best value for goods and services."

About R2 Photography, LLC

Commercial Photographer Kimberly Blom-Roemer, Owner of southern Louisiana-based R2 Photography, LLC, has been photographing industrial sites, architectural buildings, real estate, and construction sites from the ground and the air since the early 1990's.

R2 Photography, LLC covers the Gulf Coast from eastern Florida to Texas, based in the Baton Rouge and New Orleans area. However, we have clients and projects throughout the United States and Canada.

Successful Architectural Photography (SAP) eNewsletter-Introduction

2011-11-30T07:08:00.000-08:00

One of the things we hear most often from clients is the anxiety of planning to photograph projects. We want to make this easier, so we have created this newsletter series, "Commissioning Architectural Photography." The information is based on the Best Practices developed jointly by the AIA and the American Society of Media Photographers (ASMP) to illustrate the fundamental principles involved during a typical architectural photography project. By defining key terms, answering commonly asked questions and using easy-to-follow case study examples, this presentation will guide you through the entire process of working with an architectural photographer:

Topics covered:

- Selecting Projects to Photograph for Your Portfolio

- Selecting an Architectural Photographer

- Understanding the Estimate for a Photographic Assignment

- Preparing for the Location Shoot

- At the Location Shoot

- Post Production

- Controlling the Cost of a Photographic Assignment

- Licensing Photographs for Publication

- Continuing the Alliance

- Preparing for Professional Photography: A Checklist

Kimberly Blom-Roemer of R2 Photography, LLC has been both an Affiliate Member of the AIA-Kansas City and served as both the President and Vice President of the ASMP-KC/Mid-America chapter. R2 Photography specializes ONLY in architectural photography services. We believe the unique needs of the architectural, interior design, and construction industries absolutely require a 100% focus on this specialty in order to provide the exceptional our clients demand.

Find Us On Facebook!

Kimberly Blom-Roemer
Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

R2 Photography, LLC Now Registered State of Louisiana Vendor

2011-10-10T11:11:00.000-07:00

FOR IMMEDIATE RELEASE (October 10, 2011)

French Settlement, LA - R2 Photography, LLC (r-squared), one of the regions only photography services that specialized in architectural and aerial photography, is now registered with the Louisiana Office of State Purchasing (OSP). This registration is on the State of Louisiana Procurement and Contractor Network (LaPAC). Utilizing LaPAC, State procurement officers can easily find information on the services that R2 provides as well as complete contact information.

About R2 Photography, LLC

R2 Photography, LLC covers the Gulf Coast from eastern Florida to Texas, based in the Baton Rouge and New Orleans area. However, we have clients and projects throughout the United States and Canada.

Architectural Photographer Kimberly Blom-Roemer and R2 Photography, LLC Have Relocated to Southern Louisiana

2011-09-01T09:01:00.000-07:00

FOR IMMEDIATE RELEASE (September 2011)

Kimberly Blom-Roemer, owner and lead architectural photographer with R2 Photography, LLC relocated to southern Louisiana in September 2011. This relocation provides the unique opportunity for firms in the region to work with a leading architectural photographer.

"One thing our clients can always count on is projects completed on budget and on time. We work closely with our clients to ensure their vision of their project is captured with dramatic imagery. And, it is the little additions, the added value of providing basic retouching and image correction as part of our proposed services that sets us apart in the industry," says Blom-Roemer proudly. "Our clients can trust they are working with a professional, from the first phone call through to the final image delivery. We view ourselves as a long term member of your team, and not a project to be nickeled and dimed to death."

We are looking forward to meeting with architects, interior designers, quantity surveyors, building contractors, building services engineers, civil engineers, construction, property developers, land regeneration & development, housing associations, asset management, logistical, industrial, environmental, advertising, design and marketing companies throughout the region.

For portfolio reviewing and further information, you can visit http://www.r2-photography.com. Additionally, we can be contacted at 866-722-9506 or via email at contact_us@r2-photography.com

R2 Photography, LLC covers the Gulf Coast from eastern Florida to Texas, basing ourselves in the Baton Rouge and New Orleans area. However, we have clients and projects throughout the United States and Canada.

Holiday Message

2010-12-20T06:57:00.000-08:00

Happy Holidays

and a

Prosperous New Year

from everyone here at

R2 Photography, LLC

Why Is All This Paperwork Necessary? All I Want Is Some Pictures!

2010-10-27T07:43:00.001-07:00

As a business person, you know the fastest way for a project to "go south" is for there to be a difference in expectations between the parties involved. Even the smallest detail to one party, can be a major issue to another.

The best way to ensure a project's success is to thoroughly document everything. In the case of commissioning photography, this is achieved via signed Estimates, use of Terms and Conditions, a clear Usage/Licensing statement, Change Orders, and detailed Invoices. The more information you can provide to your photographer, including any prospective layouts the images are going to be included in or intended uses, the higher the odds your project will be a resounding success.

Your photographer is there to work with you, and wants the project to be a success as much as you do. So, if you're presented with documents and don't understand what you're looking at or reading, talk to your photographer. He or she will be happy to answer your questions and explain everything.

So, these documents are there to ensure the success of your project and are a sign you're working with a true professional.

Saving Money on Your Photography

2010-08-01T09:33:00.000-07:00

With today's economy, savings money is forefront of everyone's minds. It is easy to think putting off on marketing efforts, including photographing your projects, but when things are slow is the exact time you should be ramping up your marketing.

There are all sorts of ways to reduce the financial impact of photographing your projects:

- Share the Cost with Others. If you feel a building is worth photographing, your general contractor, vendors, interior designers, and even the building owner or occupant probably feel the same way. Here at R2 we encourage you to talk with other participants in a project and have the jointly commission the photography with you. When you do that, we divide your creative fees and expenses equally between the commissioning parties. Suddenly you have reduced those line items of the shoot by half, two thirds, etc. A signifiant savings. The only aspect of the shoot that is not split among participants is the usage fee. That is because each participant probably has different uses for the images. While one firm would want the images for web sites, corporate brochures, etc. another may want to use them in advertising.

- Plan Ahead, Be Flexible. The more flexibility you have in your shooting schedules and deadlines, the more inexpensive your project can be. If we are able to combine travel expenses with another project, both projects share in the savings. The more time we have to fit the project into our schedule, we also extend savings to our clients. Rush jobs, or quick turn around projects are exponentially more expensive.

- Shop Locally. By utilizing local talent for your photography needs, you're significantly reducing the travel costs for a project, pure and simple. It is an amazing phenomenon that out of town photographers are so much higher regarded, just because they are from "out of town." But, they are local to somewhere, so, there is a pretty good chance you have extremely talented photographers right nearby.

- Prioritize Views / Use Fewer Views. This is the toughest way to save on the costs of photography, you really want 10 images documenting all the features of the design in a structure, but your budget just can't absorb that many images. But reducing the number of images can save you across the board with photographer time on site, post production, usage fees on all the images.

- Multiple Projects. This can be a great way, with one caveat, be prepared to contract for the projects all at the same time. Here at R2 Photography we are thrilled to secure multiple projects with a client, and offer a discount on all the projects. The projects do not have to be shot one right after the other, but just have the projects on the books and the contracts signed. The reason we insist on all the projects being contracted at the same time, is, just like nearly every other photography firm on the planet, we have heard, "if you give us a discount on this first project, we will use you again on this one coming up" and… nothing happens with the second project.

Usage - The Rental Car Analogy

2010-07-15T18:23:00.000-07:00

It seems the item on my estimates I have to explain the most is Usage. So, hopefully this analogy will help explain.

When you rent a car, you sign a contract. On that contract you put yourself down as the driver. The daily rate in which you are charged for that car is based on you as the only driver.

If your spouse or business associate also may need to drive the car at some point, you put their name down too. However, that also increases the rate.

The contract is also for a specific amount of time. After that, you either have to return the car, or pay an additional fee.

If you have ever read the fine print on a rental agreement, you actually agree to only drive that car certain places. One of the places you agree not to drive typically mentioned is driving on "unmaintained roads." It also says you agree to abide by posted speed limits. You agree to keep the car in the United States.

Now, you have the car… but, just because you physically have possession of the car, that doesn't mean you own it. You can't sell it. You can't give it to someone else. You can't lend it to someone else.

So, by signing that contract you have agreed that you are the only user of the vehicle, you will only use it certain ways, you will not sell or give it away, and you will use it only for a certain time.

Believe it or not, in a general sense, this is a "Usage agreement" nearly identical to Usage on your photographer's Estimate.

By signing the contract you have agreed that you are the only user of the images, you will only use the images in certain ways, you will not sell or give away the images, and you will use the images only for a certain time.

Sound familiar?

866-722-9506

Continuing the Alliance

2010-07-01T18:21:00.000-07:00

Congratulations, you have found a photographer you like their work, their prices, and most likely, you like them. How do you stay in touch with them?

- Stay in Contact

- Join their mailing list

- Follow their blog

- Invite them to send in new work

- Future Project Estimates - Try to give the photographer as much lead time as possible for a project to ensure they can provide a thorough Estimate as well as give you priority scheduling in their calendars. By having them provide Estimates against other photographers your like their work will also ensure the pricing you are receiving is on standard with the industry.

Really Like Them - Consider a Multi-Project Contract

This will ensure they are there for you.

How to Get More “Bang for your Buck”

Provide Feedback.

Be sure to provide the photographer feedback on his/her images. These are business people the same as yourself, and if you, the customer, isn’t happy or would like to try a different approach, the photographer should be open to your suggestions.

Scrapbook

As you go through your business day/weeks, there are bound to be images of other projects that an angle catches your eye, a time of day/lighting, anything. Show these to your photographer. It will help him/her gauge your tastes and preferences, leading to increasingly successful projects in the future.

866-722-9506

Licensing Photographs for Publication

2010-06-15T18:18:00.000-07:00

What is Licensing in General?

Licensing is a fee you pay to use the images a certain way. Unless it is specifically written into the terms and conditions of the contract for your photography project, the copyright / ownership for those images remains with the photographer. This is why you can't take your child's school pictures, or your family picture to Kinkos or Walgreens/Walmart and make copies, you're violating the copyright (ownership) of the photographer.

A great scenario to illustrate how this works. You design a building. You provide a copy of the plans to the General Contractor to build that specific building. Just because he has the plans in his hands does not mean he owns them. It certainly doesn't give him the right to make copies of the plans and either give them away, sell them, or use them to build other buildings from those plans. If he wanted to do this, he would have to pay your firm for use of the plans on another building. I am sure that selling or giving away the plans wouldn't fly under any circumstances. The plans are your firm's creative, intellectual property. It is the exact same thing with a photographer.

What Is So Different about Editorial Usage?

Editorial usage is when you use images in an article you wrote for a print or online publications, periodicals, journals and that includes books and ebooks as well.

Who Wins in Editorial Usage?

- Publication - the better the images in their publication, the more they can charge for ads because the prestigue of their publication increases

- Architect - advertising that exponentially cheaper than paid advertising, and it has a lot more credibility

Cost - Exponentially Cheaper than a Paid Ad

To find out how much an ad is worth, go to the publications web site and follow the links for advertisers to the Media Kit.

Example:

2008 full page ad in Architectural Record is $16,980

Why Isn't Editorial Usage Included in the Estimate?

Many photographers don't like selling you usage that you don't need. It is an unnecessary expense for you, and makes their rates look necessarilyly higher than another photographer that isn't offering it. The same goes for advertising usage. This is by far the most expensive rate of usage, and honestly, it is rarely used by architects. So, being good business people, the photographer don't want to sell you more than you need.

Issues That May Arise

These happen when the publisher, architect, and photographer have different expectations.

You submit an article with images to a publication for consideration.

You think you can submit those images as part of the submission because you have purchased usage and it includes editorial.

The publication thinks you have paid for that usage already from the photographer.

So, no one has paid for usage of the images.

This can lead to a stand off that no one wins.

Securing an Editorial License

Generally, it is the publication that received the most benefit from usage of the images, so they contact the photographer directly and pay a fee reflecting the value the images contribute to the magazine's success. Factors included: size, quantity, and placement.

Unfortunately, the publisher may refuse to pay this fee. It is in the publisher's interest to license the images at the lowest cost. Some more unscrupulous publishers will play hard ball with the photographer, and even try to put your firm in the middle by trying to make the photographer out to be the problem party. One thing to know, it is very rare that a publication cannot pay for a license, and if you hear that it can't pay it could potentially be a sign that the publication is about to fold. Another claim a publication will make to help you put pressure on the photographer is that they never pay for editorial rights to images. This nearly always is untrue as the rights licenses is a very small part of their publication costs.

What If The Publication Refuses to Pay?

Option - your firm pays for the editorial-use license. be wary though, you will have no idea how an future publisher or art director at a publication may use the images, and the photographer would want to write the license to cover a wide range of possibilities and charge accordingly.

Value of a Photo Credit

Both architects and photographers have a lot in common here. Architects like seeing their names on the dedication placard, but they still expect to be paid for their design services. Photographers view a credit line the same way. It may increase their chances of future work, but it is not payment for work that has been completed.

Best Practice

When you start talking with a publisher about a story, be sure to address who will be responsible for securing the licensing rights for the supporting images.

866-722-9506

Image Delivery

2010-06-01T04:32:00.000-07:00

This can depend on a multitude of variables, as well as the methodology of the individual photographer. But most importantly, if there was a serious time consideration, this should have been disclosed to the photographer at the time the Estimate was requested.

Time Frame

This is greatly dependent on the number of images in your shoot, specific deadlines requested at the time of Estimate, and the workload of the photographer’s studio itself. Your photographer should provide you an estimated date of delivery of proofs (whether online or hard copy) within 1-2 business days of the shoot. Just a basic rule of thumb on the typical processing time images not requiring extensive post production efforts is two to twelve hours for each image, so if you have a five image shoot and taking an average of that, you could potentially be looking at 30 man hours in post production, so, potentially a week.

Online Contact Sheets

For ease of review, and sharing among many parties within your firm, many photographers provide online contact sheets to their clients. From these contact sheets, final delivered images can be selected. However, some clients still prefer to have a physical contact sheet delivered. If this is your preference, be sure to tell that to the photographer at the time you’re asking for the Estimate.

Final Images

There is a wide variety of image delivery options available to you:

Electronic Download - final image files can easily be downloaded directly from a photographer’s web site
DVD Delivery - a physical DVD with all the final images delivered to your office
Hard Copy Delivery - a hard copy print(s) created by the photographer
Combination - some clients prefer a combination of two or more of the above delivery options of the final images

Image Storage

Though your photographer undoubted is going to maintain a copy of your images, to be absolutely safe that you always have access to your images, the best approach is maintaining your own catalog.

The industry standard for Digital Asset Management (yes, DAM) is the 3-2-1 approach.

Three (3) copies of the images
Two (2) different onsite drives or media (one hard disk/server, one DVD, or two hard disks)
One (1) offsite copy. These files can be maintained on either a hard disk, back up service, DVD media, etc.

866-722-9506

Post Production

2010-05-15T04:36:00.000-07:00

OK, you’ve chosen the photographer, received the estimate, photographed the project, since there isn’t any film processing involved anymore, you should have your photographs immediately when you leave the shoot, yes? Not quite.

Basic Digital Processing

The extent in which post production processing takes place on your images depends on a lot of factors, including what special treatment the images require as determined in the Estimate. But nearly every photographer (or their digital production staff), at minimum, performs the following actions on their images:

Imports them into their digital asset management system. This includes cataloging your images as well as inserting permanent digital text information (meta data) into the images.
Basic retouching for minor imperfections including dust on the sensor, flaws on the site.
Applying subtle changes in contrast/color balance/tone to ensure all the images appear to have the identical color cast and exposure.

Advanced Digital Enhancement

Depending on the specific services outlined in the Estimate, additional image enhancement can be applied:

Light Color Temperature Adjustment. Sometimes there are multiple light sources with different color temperatures in one image. Lighting brought onto location, as other on site techniques, used by the photographer should minimize this impact, but sometimes it is easier and more cost effective to perform final adjustments digitally back in the studio.
Removal of Distracting Elements. In the magic of the digital world it is more possible than ever to get rid of distracting slight switches, outlets, faceplates, plumbing, cords,
Merging Multiple Exposures. This technique is commonly referred to as High Dynamic Range (HDR) and allows the photographer to take multiple images of the same scene at different exposures and merge them into one image. This allows for increased detail in highlights and shadow areas, and, for example, minimizes burn outs from over exposure from strong lighting coming in a window.

866-722-9506

Schedule/Timing/Duration of Shooting Images

2010-05-10T14:05:00.000-07:00

Ideally, the order in which images are taken needs to be established before arrival on the location and can easily be established by some kind of scouting. Natural lighting through windows, on exterior faces, etc. can determine what order images will be shot in. As a very rough rule of thumb, each individual image can take from 45 to 90 minutes to set up, properly stag with props and furniture arrangement, and photograph. However, some of the highest end architectural photographers can take several hours for set up, primarily to position lighting. I know of one of the top photographers that can has been known to use 200+ lights on a single image and it took eight hours to achieve his single, award-winning shot.

Photography Staging Area

Talk with the photographer about what kind of staging area needs are required. He/she will need space for cases, lighting assembly, and, if the photographer doesn’t work with their camera tethered to a display, a workstation to review images after the shot. Depending on the amount of equipment and props required, these needs can be just a few square feet, but generally average about 10x10.

Your Input - How Much Are You Involved?

Photography is a collaborative effort, but how this is handled varies from photographer to photographer. My approach is working with you, listening to your vision for the image, your preferences, learning what you’re trying to achieve with an image, etc. helps me create an image that hopefully exceeds your expectations. But just like you are a specialist in your field, we are as well, and bring unique experience and creativity to the process as well. If it were easy to just press a button and capture incredible images, you could bring in a high school student or someone from your administrative staff with a good camera.

Potential “Don’ts” When Working With A Photographer

This is varies from photographer to photographer:

Touching Equipment. Just from a liability standpoint, if you were innocently shift a tripod or a light stand, and it were to fall over... well, you get the picture.
Looking Through the View Finder/Touching the Camera. Some photographers absolutely don’t like this at all. With more and more photographers shooting tethered, you will be able to see the image instantaneously as soon as it is shot anyway. Besides, again, would you want to accidentally knock over that camera that potentially is worth more than some used cars?
“Saying Anything But “Yes.” I saw this written on another architectural photographer’s web site as something some photographers demand - and they were referred to as prima donnas. Personally if you were always saying yes to me, I would be worried that you weren’t completely involved in the project, and we might not be accomplishing your vision.

866-722-9506

R2 Photography, LLC To Present "How to Work with an Architectural Photographer" to ASID-KC

2010-05-01T18:00:00.000-07:00

Kimberly Blom-Roemer of R2 Photography, LLC will be presenting "How to Work with an Architectural Photographer" to the ASID-Kansas City chapter.

May 20, 2010

Doors Open 5:30

Presentation 6:00-7:00

Ben Weddle and Associates

4000 Washington, Kansas City, MO

This presentation is based on the Best Practices developed jointly by the AIA and the American Society of Media Photographers (ASMP) to illustrate the fundamental principles involved during a typical architectural photography project. By defining key terms, answering commonly asked questions and using easy-to-follow case study examples, this presentation will guide you through the entire process of working with an architectural photographer:

Topics covered:

- Selecting Projects to Photograph for Your Portfolio

- Selecting an Architectural Photographer

- Understanding the Estimate for a Photographic Assignment

- Preparing for the Location Shoot

- At the Location Shoot

- Post Production

- Controlling the Cost of a Photographic Assignment

- Licensing Photographs for Publication

- Continuing the Alliance

- Preparing for Professional Photography: A Checklist

Since arriving in Kansas City in 2008, your presenter Kimberly Blom-Roemer of R2 Photography, LLC is both an Affiliate Member of the KC AIA and the Vice President of the ASMP-KC/Mid-America chapter. R2 Photography specializes ONLY in architectural photography services. We believe the unique needs of the architectural, interior design, and construction industries absolutely require a 100% focus on this specialty in order to provide the exceptional our clients demand.

For more information and to register to attend.

http://events.constantcontact.com/register/event?oeidk=a07e2tchpcm07168c91

Preparing for the Location Shoot

2010-04-15T10:53:00.000-07:00

Scheduling - Who Should Do It?

This is completely a judgement call on your part, and several factors figure in:
- Your confidence in your photographer’s communication skills
- You relationship with either the building occupant or owner
- Whether you’re going to be in attendance at the shoot (if you’re not going to be there, why try to coordinate the other two parties?

Scouting - Should You?

There are three types of scouting:

You and the photographer are both present on site. This is the most ideal situation to ensure the exact views and details of an image are exactly what you’re envisioning, but can also be the most expensive.
You have the only photographer (or one of his/her assistants) go to the site. They take rough scouting images based on a floor plan/site plan with a shot list and angles for images identified. Those images are sent to your office for review, feedback, and approval for the final photography shot list. The margin for error in you achieving exactly the shot you want increases with this option, since you’re not there on site with the photographer.
You provide rough images. These have been taken previously by yourself or someone on your staff and generally accompany a floor plan/site plan given to a photographer identifying angles and specific details provided. The chances of not receiving exactly what you anticipated is increased further, as the photographer will have never visited the site before the day of final photography and can’t plan for potential issues that may impact the shoot that would otherwise be identified during a scouting visit.

Which type of scouting is also a judgement call based on several factors:

How confident are you in the photographer understanding what images you want or details to highlight from just a conversation or a floor plan diagram?
How critical are the images to your portfolio? If these are going to be “flag ship” images, then the more critical it is that you be there to ensure your vision is captured in the images
Is it a cost effective decision for you to also be at the shoot if it is not local to your firm’s main office?

NOTE: Reshoots are expensive and can be irritating to all parties involved, so, if at all possible should be avoided, and the best way to avoid them is a scouting session.

Props/Models - Do You Need Them?

This is question that has a lot of variables for you, and can often be determined by a scouting trip with the photographer:

How important are the photographs to your portfolio? If these are just documentary images, the extra cost of pro acquisition/rental can be minimized.
If this is an exterior shot, and the new landscaping is either not grown in, or hasn’t been installed yet, would renting plants for the shoot make the image match your vision?
What kind of use is the interior space? Obviously, if it is a restaurant, you would want table settings. If it is a computer lab, have the workstations already been installed?
Would the use of people in your image create a sense of use and scale? Using people in your images can potentially dramatically increase the costs associating with creating the image, especially if talent needs to be hired for the shoot.

Individual Site Considerations

Availability - when will be site be completed or accessible by the photographer?
Security - is the any special security/access requirements to the site or the facility? If the site requires security clearances or coordination with facility management for access, this needs to be incorporated into your schedule as well as that of the photographer.
Time of Day/Week for Building Occupant - Is there a best time to access a site for the convenience of the facility owner/occupant as well as to achieve the images you had in mind. If you’re photographing a medical facility, is there a slower time of day or day of the week for the photographer to be present and minimize the impact on the patients? If a weekend shoot works best for the building occupant, what would be the additional cost of a building representative to be on site during photography?
Time of Day for Images - What time of day would be best for optimal natural lighting both interior and exterior? Are you looking at a dusk shot, but some interior shots would be best when taken in early morning sun?

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We Have an Estimate – Now What? Controlling the Cost of a Photographic Assignment

2010-04-01T10:51:00.000-07:00

A photographer’s estimate is based on the information you provided about the scope of work of your project. Just like your bidding process for your own projects, there may be questions, clarifications, and negotiations. Don’t be afraid to ask questions or to negotiate, but just always negotiate in the same manner in which you would want to be negotiated with... fairly. When you ask the photographer for something, be prepared to give something.

Have your annual budget and number of projects in mind. Many photographers are willing to negotiate fees on one project, when there are multiple projects added to the original agreement. You’re familiar with this, the quantity discount. But, be prepared to contract all of these projects at the time you’re offering it, because nearly every single photographer has been burned on the promise of “future work” if you “cut us a deal” now, and the future work never materializes.

There are areas in which you can trim your costs, but always remember, the photographer has included these items in their estimate for a reason, and probably has already tried to keep these charges to a minimum in order to land your project. If you want to negotiate down the lighting rental charge, remember that this may impact the quality of the final image. If you’re looking at the number of assistants required, this may increase the amount of time the photographer has to be on site since set up may potentially take longer with fewer crew members.

866-722-9506

Understanding the Estimate

2010-03-05T10:49:00.000-08:00

The most common question an architectural photographer is asked, “How much will it cost?” But unfortunately, that question is usually asked without much detail about the project. Very few architectural photographers have a “Price List” because of the nature of each and every project is different. There is also not a “pay scale” for architectural photographers because images are not a commodity. Finally, identical services from two different photographers will charge a completely different set of fees.

Just like your design rates quoted in your proposals for projects, that number isn’t what the individual architect or designer takes home as their pay. Just like your firm, architectural photographers have overhead: cameras, computers, software, vehicles, lighting, office space, equipment, etc. The fees you see in an estimate aren’t just the charge for clicking a shutter.

All photographers are performing a balancing act between providing the most exceptional images possible while still providing you the most value for your project.

Elements of an Estimate

Though every Estimate is different, there are usually three basic components:

Creative Fee

Some photographers perform their services on a “Day” or “Half Day” rate, while others work on a “per shot” basis. This component also can be broken down by Photographer and Digital Artist (post production).

Usage Fee

You would not allow your General Contractor, or your Client, to take your designs for a building and build another building using them, and thus profit from it. Those are your creative designs and they are owned by your firm. The same holds true for your architectural photographs, the photographer lets you use them, just like you… for a fee.

Copyright of images is usually retained by the architectural photographer, unless specifically granted in the Terms and Conditions of your contract. Most photographers register their images with the US Copyright Office and to violate that copyright can be an expensive prospect. Some photographers do offer the copyrights to their images to their clients, but in doing so, they usually charge for this transfer.

Usage varies also according to how you are going to use the image. If you are going to use the images only for in-house documentation purposes, the usage would be relatively low. However, if you were going to use it on a billboard for paid advertising purposes, the Usage would be quite high because your potential financial gain from that image is a lot higher than the construction progress images in your file cabinet.

NOTE: To protect your firm, you need to be sure that you understand clearly the terms and conditions of usage of the images of your project. If you don’t understand something in the Terms and Conditions, ask the photographer, they will be more than happy to explain them, and if necessary, adjust them to meet your needs. However, this pay increase (or decrease) the Usage charges on the estimate.

Expenses

These are generally set expenses incurred by the photographer. Typical examples include:

Assistants
Lighting or Other Equipment Rental
Location Scouting (either by the photographer or an assistant)
Props
Travel
Media
Permits

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Thanks to All That Attended AIA Presentation "Working with an Architectural Photographer"

2010-02-26T07:38:00.000-08:00

We would like to thank everyone who attended the "Working with an Architectural Photographer" program we presented at the AIA-Kansas City offices on Thursday the 25th. It was a great crowd and we were thrilled to help so many of you with questions about the process of commissioning architectural photography.

Just in case you missed it, we went step by step through the process including:

identifying projects you want photographed,
what specifically about the project you wanted (and don't want) photographed,
how to obtain as accurate an estimate as possible,
how locate the right photographer,
what to do to prepare for your photography,
types of scouting,
what happens at the shoot
what goes into the post production of your images
methods of delivery
how to continue the relationship with your photographer
explanations of what usage is, including editorial usage
how to save money on your photography

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Research the Candidates

2010-02-22T04:33:00.000-08:00

(There is the old adage, just because you own a hammer, it doesn’t make you a carpenter. This holds true with a camera. Anyone can take snapshots, very few can create the quality image that best shows off your projects.)

Locating Candidates

Referrals

Whether it be a competitor, supplier, or a subcontractor, we have all seen web sites with architectural photography on them. If you find a site with photograph(s) with a style that catches your eye, find out who their photographer was on the project. If possible, ask their experiences with the photographer.

Publications

Depending on your marketing reach or budget, look through local, regional, or national magazines. If photo credit wasn’t provided on an image, contact with the magazine itself, the architect, the designer, or the advertiser to find out the name of the photographer. This might take a little work, but if the photographer has a style you like, it will be worth it.

Online Resources

ASMP – Find a Photographer
AIAP – Association of Independent Architectural Photographers
IAAP – International Association of Architectural Photographers

Selecting a Photographer

Just like yourself, the photographer is a creative professional. With such creativity, each individual’s vision and methodology is unique.

Online Portfolios

This is your first filter in the search for a photographer. A photographer’s web site is a showing of his/her best work.

Invite Submittals

OK, you’ve found a handful of photographers that have sparked your interest. Ask them to submit a presentation of images, either in a hard copy portfolio, or via an online presentation. You can request images of a certain kind of project, building, subject, etc. and, you can ask for multiple images from each individual project, so you can see a photography project in its entirety. Depending on your preference, you can have them come in and make a face-to-face presentation, send a hard copy portfolio to your office, or you can just ask them to email you a link to an online presentation of images. You can review these submittals collectively with various colleagues, with or without the photographer present.

Ask for an Estimate

To ensure you’re receiving the best Estimate possible, be sure include the following information:

The number of images you envision
The length of time you expect the shoot to take (remember, with their expertise, the photographer may have a different prospective on this)
Specific shots you need, such as a dusk/dawn shot, or an image with early morning/late afternoon light coming in through windows
Whether you prefer people in your images or not
Your preference to a scouting visit or not
How you plan on using the photographs (web site, advertising, promo materials, etc.)
How quickly you need the images shot and final delivery
How you want proofs and final images delivered

Once you have selected the photographer for a particular project, please let the other submitting photographers know the project has been awarded, and, if possible why they weren’t selected. This is to help us further understand your needs for future projects.

Keep a Database

Reap the benefits of your hard research work by maintaining a file/database of photographers your firm would be interested in working with. This information will prove to be an invaluable place to start should you require multiple Estimates on future projects, or your preferred photographer is unavailable. If possible, ask for quarterly-annual updates from photographers in this database. You can request images from current projects, clients, etc.

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Selecting Projects to Photograph for Your Portfolio

2010-02-01T07:38:00.000-08:00

Project Selection

There are various reasons to photograph your projects, and your probably have different portfolios for different marketing strategies.

Ideal Target Market Projects - This is the portfolio with images to grab the attention of clients that you’re targeting specifically.
Balanced Portfolio - For more general target clients that show the wide-spectrum of capabilities of your firm.
General Projects - These are more of a documentary of your projects, so you have it for your records and the ability to pull these images for specialized presentations.
Reshooting Previously Photographed Projects - This is a very under utilized marketing strategy which is a way to keep your portfolio fresh with new images even if they are of slightly older projects. It is also extremely beneficial when you have a strong relationship with one or two photographers in which you can further refine your firm’s entire brand image.

When to Photograph

When every possible we highly recommend photographing a facility before occupancy or opening, or just slightly after. Elements and details of a project are still new, crisp, clean, and fresh and free of the normal wear and tear of a facility over time.

Additionally, if you are considering submitting the images for competitions or publications, the more current the project the more relevant the submission.

Identify Your Needs

Questions to ask yourself.

What elements of your project best represent your vision and design?
What are additional elements, concepts or other features do you wish to highlight?
What aspects of a project do you not want to be photographed and avoided by the photographer?
Were there any aspects of your design that illustrate creative problems solving by your firm?
How is the photography going to be incorporated into your marketing plan?

Display to clients via web site, presentations and portfolios?
Competitions
Paid placement advertising
Trade magazines or book publication
Internally produced publications
In-house only reference and documentation?

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R2 to Present "How to Work with an Architectural Photographer" to AIA-KC

2010-01-18T15:08:00.000-08:00

Kimberly Blom-Roemer of R2 Photography, LLC will be presenting "How to Work with an Architectural Photographer" to the AIA-Kansas City chapter.

February 25, 2010

12:00-1:00

AIA Kansas City Offices

1801 McGee, Suite 100, Kansas City, MO

Topics covered:

- Selecting Projects to Photograph for Your Portfolio

- Selecting an Architectural Photographer

- Understanding the Estimate for a Photographic Assignment

- Preparing for the Location Shoot

- At the Location Shoot

- Post Production

- Controlling the Cost of a Photographic Assignment

- Licensing Photographs for Publication

- Continuing the Alliance

- Preparing for Professional Photography: A Checklist

Northern Climate Exterior Photography in Winter

2010-01-04T11:15:00.000-08:00

I have been suffering from a bad case of déjà lately. I lived in Anchorage, Alaska for 8.5 years, and the last month has resembled life there more than the temperate (relatively speaking) climate of Kansas City.

The insanity of the weather outside does not mean your exterior photography needs to come to a standstill. Some projects honestly can benefit from leafless trees and low directional lighting.

If you have a fair amount of foliage, especially deciduous plants, in front of your project that obscures design elements, to photograph the structure in the winter is the ideal solution. You can capture the entire structure unobstructed, showing off the entire structure.

The low lighting angle of the winter months can also create interesting highlights on your design, emphasizing angles and depth, that otherwise might not be captured during the overhead light of the summer months.

Finally, the massive amounts of reflective light can also enhance both your interior and exterior views in ways only possible when there is a beautiful coating of that white stuff all over outside.

Of course, you always can move forward with your interior photography. There is no reason to delay capturing those views when the facility is new, clean and looking its best. You can always follow up later with the exterior shoot when the weather and season best shows off your designs.

Not every structure can benefit from the unique conditions of winter photography, but in many cases, it can be a rare opportunity. So, just because it is winter, does not mean all your photography needs to come to a halt.

Stay warm and safe this winter!

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2009 Holiday Message

2009-12-01T11:10:00.000-08:00

Wow... what a year! With 2009 drawing to a close, I am sure, like everyone in the industry you're looking to 2010 with anxious eyes.

Rather than drone on and on about what you need to be doing to be successful in the upcoming year, let’s take a well-earned pause... sit back… have a virtual cocktail together (clink)… and toast ourselves that we made it through the year. Just making it is an accomplishment.

We’ve seen long-time friends and associates become victims of the economy. We’ve watched pillars of the industry shudder. Some of us are more bumped and bruised than others. But, we are a little older, a little wiser, and, as much as it doesn’t feel like it, our businesses are going to be stronger for it.

To look positively, we’ve learned creative ways to keep things going, techniques and approaches that, in a good economy, we never would have thought of. How much is that benefiting our businesses now and will be long into the future?

So, in looking at 2010… let’s apply the three P’s… Positive… Productive… and Patient. Or, to borrow from the slogan used in Great Britian during WWII, “Keep Calm and Carry On.” :-D

Cheers (clink)… one thing is for certain, 2010 is going to be an exciting year!

Happy Holidays!

--Kimberly

and everyone on the team at R2 Photography, LLC

www.r2-photography.com

Planning Your Architectural Photography Project

2009-10-27T08:44:00.000-07:00

As they say, a little planning saves a lot of pain, and that holds true for Architectural Photography. It isn’t as easy showing up and clicking a shutter. To ensure excellent final images, a thorough pre-planning process can save everyeone from headaches, miscommunication, and surprises later in a project.

Below is an outline of typical planning milestones we have found to lead to a successful team effort with our clients.

Image Requirements Discussion

Before our initial meeting it is important that you and your design team identify views that best represent your designs. Questions todiscuss include:

• Are there any specific concepts/elements/features you want highlighted?

• Are there areas that illustrate creative problem solving by your team?

• Are there specific “must-have” interior and exterior views?

After discussing and listing all the desired images, prioritize those images in order of importance.

Site Visit

The Site Visit is vitally important for several reasons:

• Face-To-Face Discussions. We review your desired shot list and identify them in the facility. Notes are made concerning the specific expectations of individual shots and any challenges or requirements to create your vision. We will also discuss logistical requirements.

• Facility Representative Coordination. We can discuss with them what is happen during the assignment. They can ensure all lights are in working order,undesirable items are removed, landscaping/cleaning, various “housekeeping” items completed, etc. We don’t want them surprised by cases of equipment and several individuals descending on their facility for a day or more. Without their cooperation, it would be nearly impossible to complete the project.

• Technical Preparation. Color quality and light levels are measured and notated to determine technical requirements for illumination and color correcting . Scouting photographs are also taken which will be posted to your private section of our web site for review to prepare for the final photography meeting.

Site Specific Checklist

After the Site Visit we will provide you a checklist of items and details that need to be addressed or corrected prior to the photography.

Final Photography Meeting

Usually performed via telephone, together we will review your online scouting photographs and the Site Specific Checklist. We will agree on specific final views to be performed the day of the assignment.

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AIA and the ASMP-Working Together!

2009-10-01T07:29:00.000-07:00

Did you know the AIA and the ASMP have been working together now for over six years to continually improve the working relationships between architects and their photographers?

In 2003, James Dinegar, American Institute Architects (AIA) Chief Operating Officer, and Vicki Allums, AIA Associate General Counsel met with Victor Perlman, ASMP legal counsel and managing director, and Eugene Mopsik, ASMP Executive Director. The purpose of the meeting was to sign a Memorandum of Understanding (MOU) and approve a new permission form regarding use of photographs created by ASMP members submitted in connection with AIA's award programs. This event was the culmination of over six months of negotiations and has resulted in a new and mutually beneficial relationship between ASMP and AIA.

Together they formed a new agreement and permission form and MOU.
Release form PDF
AIA/ASMP MOU Agreement PDF
AIA/ASMP MOU Press Release PDF

Other activities the AIA and ASMP work together on:

ASMP and the ASMP Architecture Specialty Group have worked with AIA on the AIA Annual Conventions and have had booths at the conventions.
ASMP works with the AIA in the presentation of continuing education seminars on the relationship of photographers and architects.
ASMP and AIA have co-produced a checklist for architects to use as a guide to their business relations with ASMP photographers.

As the Vice-President of the ASMP-Kansas City/Mid-America chapter, I believe strongly in the codes of professional standards and business conduct in which the ASMP has established. I see myself as a team member of my clients, and because so much hard work has been done on both sides at the National level, I work with my clients following the framework and guidelines developed at those levels.

Here's information from the AIA Best Practices Library. These documents are freely downloadable and may be viewed on screen or printed on a desktop color printer.

And from the ASMP:
Working With An Architectural Photographer

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When to Photograph?

2009-09-01T13:53:00.000-07:00

When is best time to schedule your photography? This question comes up when planning any project. Often the dates that are most convenient to the property owners or your contest entry deadline are what determine the schedule. However that's not necessarily the best season, day, or time of day to create images that truly capture your design vision.

If you project is in a high traffic area and you don't want cars in your images, choose off peak use times, like the weekend or holiday for an office structure project. Other commercial and retail buildings can benefit from including the public/people in some of the views. However, this requires careful planning, in many cases a longer time to create each image, and a little luck for the right balance of people and light.

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R2 Photography, LLC Interviewed by Wall Street Journal

2009-08-21T13:51:00.000-07:00

To support their article, The Best Shot_A Photography Lesson for Homeowners, the Wall Street Journal approached me for expertise and insight on how to photograph residential interiors with a target audience of real estate professionals. I was flattered to be asked.

Because of their tight deadline (I could NEVER be a reporter, much less a press photographer) I quickly provided them some essential guidelines that I have developed as part of my "How to Photograph Residential Real Estate" seminar I presents to real estate agents and firms throughout the region.

Because most real estate professionals take their own images with point and shoot cameras, the topics covered in the seminar are easy, general tasks that can dramatically improve the impact of their images, and even more importantly, catch the eye of the prospective buyers. These guidelines discuss points of view, lighting, color casts, perspective, clutter, and lenses.

The article can be found at the following link:
http://online.wsj.com/article/SB125086600376449445.html

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Quick Half-Day Downtown Chicago Study

2009-08-19T13:55:00.000-07:00

As part of traveling to any destination on assignment, I try to include time to photograph local landmarks.

On August 21st, after leaving 11" of rain in 36 hours and an office flooding, I was in Chicago and had the most glorious weather one could ever hope for to photograph the busting and exciting downtown area. Setting a land speed record, here are a few rough images from my adventure.

The last image, which looks like a bizarre abstract is actually the underside of "The Bean". In it, you can count my reflection at least 13 times.

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Is Your Project Location Ready to Shoot?

2009-08-01T09:21:00.000-07:00

With the significant preparation needed to complete a successful architectural photography shoot, not to mention the costs involved, great attention should be given to how well prepared the location is for the photography day.

Everyone seems to be very busy these days and the importance of this step can sometimes be diminished or overlooked in the budgeting and scheduling process. As our Client, you want your images to look perfect, and we of course want you to be happy with the images. But sometimes, there can be an over reliance on what can be accomplished with photo retouching in post production, and even then, the costs to do so.

The best approach to ensure your images are the best they can be, and your costs (post-production) are kept as low as possible, is review all aspects of the shoot with the property manager and maintenance staff. A simple checklist comes in handy.

Interiors

make sure the desired furniture and fixtures have been installed,
make sure all fixtures are operational (no burned out bulbs),
painting has been completed,
are any seasonal or event specific items removed,
desktops, counter tops, or anywhere papers, etc. can be left sitting is cleaned and organized,
is the facility clean? (you'd be surprised).

Exteriors

are the green spaces and trees maintained?
are seasonal or temporary signage or structures removed?
are other firms/companies, etc. working on site that day?

Sometimes property owners schedule multiple parties on the same day as it's convenient to them. It is often difficult or impossible for each party to stay out of each others way when trying to achieve their goals. Sometime it's inevitable, so try to determine potential conflicts before hand and see if it will affect the shoot plan.

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Your Shot list

2009-07-01T09:21:00.000-07:00

The "Shot List" is one of the most important discussions you can have with your photographer in preparation for a photography assignment. If you do not determined your Shot List by a walk-through or scouting of the property with the photographer, it still needs to be created. Just saying to your photographer, "Shoot everything" is too broad an explanation and will only set yourself up to be disappointed in the images created, the number of images created, or the cost of creating such broad number of views because the photographer is guessing what you're looking for.

And, what happens when you create your Shot List, and you realize it is too long to accomplish during the scheduled single photography day. Only you can prioritize that list by order of importance. It is important to remember that typically only a small number of views will be frequently used from a particular project. It makes the most sense to direct your photographer to spend the time on those important views, and less time on the photographs that are more "for the record". Having this conversation with your photographer prior to the Estimate will help you maximize your photography budget, increase your satisfaction, and yield a better final product.

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What Makes a Successful Architectural Photograph?

2009-06-01T09:26:00.000-07:00

In my opinion most successful architectural photographs exhibit these four qualities, which I believe are all of equal importance:

Purpose
View
Light
Execution

If your photograph fails on any of these points it will not successfully communicate to the viewer your design vision and project objective. This easily could leave you with substandard snapshots which will be limited in how the they can be used.

Purpose
Why you are photographing the subject? Are the photographs for your portfolio, a marketing campaign, competition entries, or to advertise a product or service? Among other things, your WHY?s help define your Usage in your photographer's Estimate. You don't want to pay Advertising Usage rights for an image that you may intend just be used as documentary.

View
Since you're familiar with a project as it was created, you have probably noticed more than one angle of view of a structure that really caught your eye. Be sure to convey this to your photographer, together you can identify the best camera positions to convey that purpose. This is where a site walk through or scout of the location with the photographer is so invaluable. Consider if there is a view that shows several features in one angle. Equally important, be sure to tell your photographer, and clearly identify aspects of a project you do not wish to highlight? This saves the photographer time, and you money.

Light
Orientation of a structure on a site often dictates when it looks the best. Is it in the morning or afternoon light or is it best at dawn or dusk? Is the natural and/or existing lighting sufficient or is it in need of supplemental lighting to make up for existing deficiencies or site limitations? Again the site walk through or scout visit can pay off exponentially.

Execution
With the tsunami of digital cameras and their built in programs it has become easier to make a “good” photograph. But, will you be happy with just "good"? Will it show off your capabilities to win that competition? Will it land your firm the next big project? The question is when is “good” not good enough. Anyone can snap a shutter, but it takes someone dedicated to the art of photography to how to process the camera’s auto-generated file for maximum quality.

The professional architectural photographer not only uses equipment capable of much higher resolution, we also use special lenses and supplemental lighting to capture an image that embodies your defined purpose. That image can be further refined through the use of specialty software and image processing techniques to maximize the success of the final photograph.

Among the many decisions you will need to make are: what is the purpose of these images, how important are these images to your marketing efforts, and will you have access to this subject again in its present condition?

We wish you the best in all your projects and if you need any help to understand terminology, approaches, technical aspects of photography, I’d be happy to speak with you about it.

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People in Photographs

2009-05-01T09:19:00.000-07:00

People often add scale, personalization, and a sense of purpose in architectural photography.

Considering having people (talent) in your images, and what would be a proper in each of the images is subjective. But should want people in your images, it should always be considered and discussed when planning your photography.

We strongly recommend you hire the talent directly, however, we would be happy to hold casting sessions for you, and recommend individuals for your shots.

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R2 Photography, LLC's New Web Site

2009-04-15T09:27:00.000-07:00

Today we launched our newly redesigned architectural photography web site at:
http://www.r2-photography.com

We display many new images in categories such as Architectural, Aviation, Panorama, Aerial, and Construction Progress.

Ever wonder what an architectural photographer does in their spare time for fun? You guessed it... take even more images... and you can find that in the Personal Work section of the web site. Enjoy!

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ASMP at the 2009 AIA National Convention

2009-04-01T09:22:00.000-07:00

This year the ASMP (American Society of Media Photographers) will again exhibit at the AIA convention in San Francisco at the end of the month. ASMP member photographers will be on hand to pass out free copies of the AIA-ASMP collaborative booklet titled "Commissioning Architectural Photography". The 20 page booklet covers selecting a photographer, estimating, controlling costs, licensing images and a photography preparation checklist. Architectural Photographers will be available to answer any questions you may have about how to organize a successful photography project and ASMP.

You can also download this document from here:
http://www.r2-photography.com/documents/ASMP-Working_With_An_Architectural_Photographer.pdf


Whether you were there or not, and whether we are your photographer on a project or not, if you have any questions or comments about commissioning architectural photography, please feel free to drop us a line anytime. We'd be happy to help!

Kimberly Blom-Roemer
Photographer
R2 Photography, LLC
r2-photography.com



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Budget for Successful Photography

2009-03-01T09:14:00.000-08:00

We're well into 2009, but it isn't too late to think about your Photography budget and scheduling for the rest of the year. Professional photography of your best projects is an invaluable asset for your upcoming business marketing.

When structuring your budget, it is important to have complete coverage of your most important projects, but remember to saving enough to record your other projects.

When at all possible, try to schedule your photographs when the project is newly completely, and crispy clean so your project is shown in the best possible light. Access to your structure is typically more easily obtainable at this point as well.

To stretch your photography budget, contact other interested parties such as the owner, occupant (if different), your subcontractors, etc. We are happy to divide the Creative Fee equally between multiple parties, and if you bring on even one other party, you have already saved yourself 50% of the creative fee. So, as you can see, the savings can be significant.

We view ourselves as part of your team, and hopefully a long-term member you can count on. We'll work with you to create images that bring in more projects, which thus needs to be photographed. We all win!

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Photographing Northern Exteriors in Winter

2009-02-01T09:15:00.000-08:00

Winter in a northern climate can sometimes make for a tough time to photograph exteriors. Wind, snow banks, mud, leafless trees and brown grass challenge capturing your structure looking it's best. So as not to just let the whole project slide until spring, why take advantage of that gorgeous reflective light from outside and photograph the interiors and room details that are ready for photography. Save those exteriors for Spring when the weather is better and fall plantings have taken hold.

Then again if your project is an ice sculpture or an igloo.....it's time to shoot!

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Kansas City Architecture-Hidden Treasures

2009-01-31T10:33:00.000-08:00

The architecture in the Kansas City area, especially downtown, is amazing! Just walking from a parking garage to a meeting I came across this Kansas City Historical Landmark. The detailing in this structure is beyond anything we would ever attempt today with new construction. The saying, "they don't make 'em like they used to" applies to this building. And how many times a day do people pass this building, and never bother to really "notice it?"

I hope you enjoy this image!

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Hello and Welcome

2008-12-08T09:28:00.000-08:00

Since blogging is the way of the world today, R2 Photography is growing with the times.

We are a full-service architectural, aerial, and construction progress photography service providing documentation and final photography of your project from ground breaking to final occupancy. Our dedication to your project is that of being a member of your team, and not just vendor. We take personal responsibility for every assignment, big or small, and we work with you in pre-planning to ensure what your envisioning is what you receive.

Our main photographer, Kimberly Blom-Roemer, has over 25 years of architectural and fine art experience. To experience her vision and creativity please visit our web site at www.r2-photography.com. But, he dedication to the profession of photography goes beyond work behind the camera, she has earned the prestigious honor of General Membership with American Society of Media Photographers (ASMP). This honor is held only by the best in the commercial photography industry, and requires demonstration of photographic talent, business professionalism, and the hardest part, review and endorsement by current General Members.

But to demonstrate her dedication to the profession, Kimberly also serves as the Vice President of the ASMP-Kansas City chapter. Her goal is to educate both photographers and clients alike about professional business practices to benefit everyone on both sides of the Estimate.

Other specialties delivered to the construction and interior design and aviation industries, R2 Photography offers 360 panoramic images, aerial photography, construction progress photography, and of course, the final project images that show off your designs in all their glory.

Happy Holidays and a wonderful 2009 to everyone... Peace, Love and Happiness!

Kimberly Blom-Roemer
Photographer
R2 Photography, LLC
r2-photography.com

866-722-9506

Congratulations to Mitchell Park Place, (MEAD Lofts), St. Joseph, Missouri

2008-11-01T09:43:00.000-07:00

This month Mitchell Park Place, or also informally referred to as the Mead Lofts, opened their doors for occupancy.

The Mead factory in St. Joseph, Missouri was an icon of the St. Joseph business community for decades. Many of us, and, we'll be showing our age here, remember using the Indian Head notebooks in school. This factory was the only facility in the country that manufactured these icons of education. When the Mead Corporate purchase the factory from it continued to operate until several years ago. Since then it has stood empty over the skyline of St. Joseph. Recently the Foutch Brothers, working with Gastinger-Walker Harden Architects in Kansas City developed plans to renovate the facility into a nearly self-contained loft project, complete with first floor shopping retailers, a top of the line athletic facility on the second floor, complete with pool, and a completely finished roof top terrace with grass, plants, solar panels, and water reclamation capabilities. And then there's the view from the roof... panorama of the Missouri River valley, St. Joseph, and Kansas. Nestled inside are furnished corporate apartments and a central atrium with grating allowing you to see up through multiple levels and through the skylights above.

This is an exciting project and will impact the local neighborhoods dramatically and positively. Revitalizing what was a declining area into a place people want to live.

Congratulations again Mitchell Park Place!

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Scouting Trip or Walk-Through Images

2008-10-01T09:20:00.000-07:00

A common practice when preparing for/scheduling photography is a scouting trip or walk-through of your property. An important aspect of this effort is capturing simple low resolution digital images are taken to help identify and select views. They can also act as a reminder of problem areas that will need special attention during final photography.

Sometimes due to circumstances beyond your control, after the walk-through future access to a project is limited. You might then desire to utilize the previous scouting views. This should be avoided as much as possible, as those images are typically low quality, quickly composed snapshots not often taken in the best light. There is a difference between a snap shot and a final photography.

On the rare occasion when there is no alternative and the image, lighting and use size are acceptable it may be possible to make use of them. However, keep in mind scouting shots were not part of the original use license quoted by your photographer, they were taken for discussion/reference purposes only. If you'd like to use images from your walk through, you will need to discuss with your photographer a fee to prepare the scouting view as a master file and an appropriate fee for your intended use. Don't forget that retouching may be needed to make the photograph usable.

866-722-9506

Location, Location, Location

2008-09-01T09:22:00.000-07:00

The often quoted real estate saying, "Location, location, location" applies to successful architectural photography as well. Choosing the best angle for your project involves selecting the best point of view that tells the complete story of your design vision. That viewpoint may be from across the street, on a bridge, from another building or even from the water. Take the time to walk the perimeter (if possible) of the building, maybe look at the possibility of the roof of a neighboring building, or just from an office window nearby.

So, don't always opt for the easy, straight on "mug shot" of a structure. Unimaginative, and potentially will not show off your subject to the best ability, unless a documentary shot is what you're looking for.

866-722-9506

Kakaskia College, Vandalia, Illinois

2008-07-10T09:19:00.000-07:00

We've recently completed our second photography shoot for the new Kakaskia College Phase 1 building located in Vandalia, Illinois (south central Illinois).

Phase 1 of the project is a monumental asset for the local community, as the previous single building was ill equipped to meet the growing needs and visions of both the college and the community. The campus location is close to the interstate for easy access for students from outside the town. As this is the first building of several planned, all classes for the various degree programs will be held in the facility. However, extensive medical and laboratory amenities have been built into many of the classrooms as the long term function of the building is to support the nursing and biological/chemistry curriculums.

866-722-9506

R2 Photography LLC

SAP Newsletter-Planning Your Architectural Photography Project

2011-Happy Holidays from R2 Photography LLC

R2 Photography Now A State of Louisiana Certified Small Entrepreneur (Hudson Initiative) (SEHI) Vendor

Successful Architectural Photography (SAP) eNewsletter-Introduction

R2 Photography, LLC Now Registered State of Louisiana Vendor

Architectural Photographer Kimberly Blom-Roemer and R2 Photography, LLC Have Relocated to Southern Louisiana

TOP 10 Questions #12. YOU'RE KIDDING RIGHT? I Need to Spend MORE On Marketing? I’m NOT Telling the Boss That!

TOP 10 Questions #11. The Economy is Bad... My Marketing Budget Has Been Cut - HELP!

TOP 10 Questions #10. How Much Is This Going to Cost?

TOP 10 Questions #9. I Paid You To Take The Photos… What Do You Mean I Don’t Own Them?

TOP 10 Questions #8. Scouting... Why Would I Want to Do That?

TOP 10 Questions #7. Another Firm Gave Me These Images from A Project We Worked On Together, It is OK To Use Them On Our Web Site… Right?

Holiday Message

TOP 10 Questions #6. How Long Should The Actual Shooting Take?

TOP 10 Questions #5. It’s OK to Give These Image to ______ to Use In Their Marketing, Right?

Why Is All This Paperwork Necessary? All I Want Is Some Pictures!

TOP 10 Questions #4. Why Doesn't My Print Have the Whole Image from the Contact Sheet?

TOP 10 Questions #3. Why Can't I Get My Images Today?

TOP 10 Questions #2. What is this Licensing or Usage thing?

TOP 10 Questions #1. What is Included in an Estimate?

Top 10 Questions Our Clients Ask

Saving Money on Your Photography

Usage - The Rental Car Analogy

Continuing the Alliance

Licensing Photographs for Publication

Image Delivery

Post Production

Schedule/Timing/Duration of Shooting Images

R2 Photography, LLC To Present "How to Work with an Architectural Photographer" to ASID-KC

Preparing for the Location Shoot

We Have an Estimate – Now What? Controlling the Cost of a Photographic Assignment

Understanding the Estimate

Thanks to All That Attended AIA Presentation "Working with an Architectural Photographer"

Research the Candidates

Selecting Projects to Photograph for Your Portfolio

R2 to Present "How to Work with an Architectural Photographer" to AIA-KC

Northern Climate Exterior Photography in Winter

2009 Holiday Message

Planning Your Architectural Photography Project

AIA and the ASMP-Working Together!

When to Photograph?

R2 Photography, LLC Interviewed by Wall Street Journal

Quick Half-Day Downtown Chicago Study

Is Your Project Location Ready to Shoot?

Your Shot list

What Makes a Successful Architectural Photograph?

People in Photographs

R2 Photography, LLC's New Web Site

ASMP at the 2009 AIA National Convention

Budget for Successful Photography

Photographing Northern Exteriors in Winter

Kansas City Architecture-Hidden Treasures

Hello and Welcome

Congratulations to Mitchell Park Place, (MEAD Lofts), St. Joseph, Missouri

Scouting Trip or Walk-Through Images

Location, Location, Location

Kakaskia College, Vandalia, Illinois