Q1. Were you always interested in architecture?
My initial background wasn’t in architecture, it was Astrophysics. But when I found out someone needed to die for you to land the type of job I wanted (there were only a few jobs), I knew it wasn’t for me. After that, I kept finding myself in the architectural industry, first as a drafter and administration staff while I finished college, then as a proposal writer, and finally, doing what I wanted to be doing, creating the stunning images that grabbed people’s attention. But ever since being scolded as a child for “taking too many pictures” I have always had a camera in my hand.
Q2. So how did architectural photography become your career?
I’ve never enjoyed photographing people and couldn’t envision myself with a retail portrait studio or surviving weddings every weekend. But buildings and landscapes always spoke to me. I literally could feel an intuitive connection to the structure and could sit for hours watching (or be able to successfully anticipate) how the lighting changed in the scene in front of me. I’m the worst person to travel with to a new area/city. I am constantly stopping because something has grabbed my attention and demands I pull out the camera to capture it. It permeates my life professionally and personally. Yes, I have a very understanding husband.
Q3. How are your final images different from other architectural photographers?
Any photographer can adequately photograph a structure. Buy my clients don’t want adequate, they require “show stoppers” to differentiate themselves from their competitors. My clients often provide a shot diagram for their desired angles. Of course I provide those exact images. But, this is only where I begin a project. I see angles that other’s overlook. Instead of just taking a the standard “snapshot”, I strive to create something special that shows off the scene in a way that not even the designers had envisioned. More often than not, my client selects my variation of their desired scene, and not the exact view they thought was ideal. My client’s also tend to select more images than they initially thought they needed because I have created such dynamic views of their project. I take this as the ultimate compliment.
Q4. How do you find clients? Do they come to you or vice versa?
I feel I have a nice balance between new clients and returning clients. New clients are looking for a dependable resource in the region who have found me through my marketing efforts. Returning clients trust that their projects will be executed smoothly and result in dynamic images. Because in addition with exciting images, they know they can trust me to dependably executive the project without any surprises, delays (other than weather), budget busting, and minimal hassle of their clients who occupy the buildings. I make their job easy, and my client’s love that. A returning client reinforces that we are on the right track with our vision as well as how we executive our services.
Q5. How do you “do” a shoot? Do you scout out a project beforehand?
Communication with my client’s from initial estimate until final image delivery is key. I ensure the estimate is detailed enough to reassure the client they know exactly what to expect from me in each step of the project, as well as how unforeseen issues are handled. The last thing anyone wants is surprise charges on an invoice, or to be in the dark about the communication between myself and the building occupant (if it isn’t them).
Much of actual on-site time is very intuitive. However, I do try to connect with the project in some way prior to site arrival, either through client snapshots, design documents, renderings, even Google’s Street View and Google’s Earth. But if none of that is possible, I trust that I will connect with the project once I am there.
My approach is extremely low impact on the facility and its occupants. Much of the time the project is operational/occupied and I am working around them without disrupting them. This requires strategic planning of schedules and patterns of the occupants, as well as the environmental conditions, to ensure I am at the right place on the property at the right time. Having a large crew, cables and light stands everywhere, and massive disruption, if not completely shutting down a facility is not the atmosphere that I know I can create the best images. I can’t be that rigid in my approach. I need to be flexible and dynamic and this leads to the best images.
Q6. Looking ahead at the business of photography, what do you see in 10 years or so?
I keep watch on trends to ensure I am working as creatively and efficiently as possible for my clients. The photography industry has become so dynamic in the last 15 years with the advent of digital, I am excited to see where we’ll be in 10 more years. Yes, some of the simpler/lower creative requirement projects may be replaced by project manager’s camera phones, or 3D renderings. However, the need for dynamic, show stopping images to wow potential new prospects will always be in demand. It is my job to ensure I continue to provide this to my clients. We’re always offered expensive high altitude aerials, but now low altitude aerial provides a new perspective that can motivate my client’s prospect to take a closer look at my client’s project. The key there is to not use those images just because you can, but instead to create a unique viewpoint that uniquely highlights features of the design. New rendering and processing can enhance my client’s designs without detracting from the reality required for proper documentation. Wherever the world of architectural and aerial photography takes us, I am looking forward to the ride!
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
