Post Production

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.

Whether we are your photographer 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
Architectural and Aerial Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

Schedule/Timing/Duration of Shooting Images

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 to 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.

Whether we are your photographer 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
Architectural and Aerial Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

Preparing For Photography - Scouting / Props / Models

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. 

Finally, help us help you! Share your insights, questions, and ideas with us, and be sure to let us know how we can improve this newsletter and our blog. Until next month!

Whether we are your photographer 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
Architectural and Aerial Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

Preparing For Photography-Scheduling

A successful project is more than just showing up with a camera. But, the first step is SCHEDULING. Some of this should already have been established when requesting estimates. If you didn't provide the information, a diligent photographer should ask you.

Depending on the project, a lot of elements can be involved: 

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? 


Availability
When will the site be completed or accessible by the photographer? Sometimes there is a small window between project completion and building occupation. 

Security

Are there 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 better 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/staff? Is the building only occupied during the week? If you want exteriors without vehicles in the parking lot, this is something to keep in mind because a weekend would be ideal. However, if the photographer only has access to the interior of the property during a week day, that means you may have to schedule two shoot days. If a weekend shoot works best for the building occupant, does the building owner/occupant want a representative on site during photography and what would be the additional cost? 

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?

Whether we are your photographer 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
Architectural and Aerial Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

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

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.

Whether we are your photographer 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
Architectural and Aerial Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

Understanding the Estimate

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

Whether we are your photographer 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
Architectural and Aerial Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

Researching Photographers

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.

And a talented photography generalist can take a nice architectural image. But, architectural photography is extremely unique and only those that specialize in it 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 Photographers (asmp.org)
• AIAP - Association of Independent Architectural Photographers (aiap.net)
• IAAP - International Association of Architectural Photographers (architecturalphotographers.org)

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.

Whether we are your photographer 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
Architectural and Aerial Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

Selecting Projects to Photograph

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?

Finally, help us help you in 2014! Share your insights, questions, and ideas with us, and be sure to let us know how we can improve this newsletter and our blog. Until next month!

Whether we are your photographer 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
Architectural and Aerial Photographer
R2 Photography, LLC
r2-photography.com
866-722-9506

New Year - New Look - New Services!

We're Now More Than Just Still Photography!

Happy 2014!

It is an exciting time for us here at R2! Not only are we changing our look - we're expanding our services to really
take showing off your projects to the next level!

First - The New Brand. Honestly, this is self explanatory. 

Second - We're adding video to our services to give your projects movement, 360 degree views, and energy that supplements the still images we're all used to. 

Third - We don't want you to have to wait while the FAA works out the licensing, training, security, reporting, and insurance requirements for drone use. So we will be providing this service to our clients on a complimentary basis as part of a larger photographic project package. 

We're adding these services to help you stand out against the competition with moving images and unique perspectives! we're excited at the potential!

Finally, help us help you in 2014! Share your insights, questions, and ideas with us, and be sure to let us know how we can improve this newsletter and our blog. Until next month!

Sincerely,

Kimberly Blom-Roemer

Architectural and Aerial Photographer

R2 Photography, LLC

r2-photography.com

866-722-9506