FAQs

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Why do I need an architectural photographer? Can’t any photographer handle my shoot?

Each type of photography requires a different set of skills, experience, and equipment to ensure the best results. There are a lot of generalist photographers who have enough experience to not make a mess of an architectural shoot, but there aren’t many specialists around to provide top of the line results. If a picture is worth a thousand words, the question becomes: do you want the words of a college student, or an experienced professional?

In addition to specialized lighting, I also utilize lenses which are significantly different than those used by most generalists. Selecting the right lenses for indoor use, macro work, and the stark contrasts found in the light and shadow of architecture is something which not only takes the right gear, but knowing how to maximize your use of it.

What kind of benefits is this kind of architectural photography going to provide me?

There’s a lot of psychology that goes into making the subject matter evoke the message you’re looking to get across. Every type of photography has its own secrets, and architectural photography is probably more complex than most. A good set of images can set a tone for your subject. If you’re advertising your business, it can provide a sense of what customers can expect—it can entice them with openness, or intrigue them with mystery.

A shoot can highlight the intimate details of your subject, drawing the viewer in and helping them lose themselves in the images. It’s a hallmark—when this kind of photography is done right, the details of the subject can take root in the imagination of the beholder. Which is exactly the kind of thing you want when you’re trying to grab attention!

Can you explain your shooting methods?

I start with a survey of the scene. At this point I do a sweep, taking snapshots as I go—this is so we can discuss the composition of the shots you want. Once we’ve reviewed those together and established your needs, I use a combination of the available natural light and my own artificial light sources to set the scene for the shoot itself. This foundation gives me fine control over the raw images. That’s critical because the final images I deliver are composites of many different shots. By lighting elements in the scene individually, I can assemble a superior selection of images to work from. The post-production work I do leverages techniques which are on the cutting edge. The look I produce has only been possible over the last few years. That’s something which really makes the images I produce stand out.

How much do you charge for a shoot?

It would be amazing if I could just toss out numbers like on a menu, but there are just too many variables to give even a ballpark figure without knowing specifics about a job. The good news is that I can give you options during our discussions about your project. There are three major categories of fees associated with a shoot: the actual shoot, the post-production work, and the licensing fees associated with your usage.

What does licensing for usage mean, exactly?

As image copyright is retained by the photographer, what you are paying for is a license to utilize images from the shoot in a specific manner. For example, you might be buying a license to create an online business listing, or you could be assembling a brochure—the reach of a given usage scenario is taken into consideration when setting a fee for the licensing. There’s a big difference between images which will see a thousand copies over their lifetime and a shoot which will be duplicated a hundred thousand times or more! It’s worth noting that if you want to use the images for something different, you can talk to me about new licensing options. Or, for example, if you’d like a specialist business partner to be able to make use of the images, they can license the images from me as well.

Do you retouch your images?

I do! In fact, my experience in one of New York City’s top design firms has molded me into an ace photo retoucher. My work incorporates a lot more post-production than many photographers precisely because I have the skills to put together images which are truly jaw-dropping. Taking the raw images is where the process begins, but it all comes together—literally—as I composite images and touch them up. Removing blemishes, color correction, exposure merging, making adjustments to perspective, and manipulating the lighting are all pieces of the puzzle.

Hiring a Specialist


What matters to people looking at a photograph isn’t something as simple as just being able to clearly discern the subject matter. If the old saw of “a thousand words” is what you’re getting out of each image, shouldn’t those words convey a deeper connection with the space than merely: a large house with a spacious drive and nice landscaping? Shouldn’t your restaurant be more than: a brown door with a street number on it and a hanging sign with part of a business name visible?

Getting the right specialist for your shoot is the first step towards highlighting your subject matter appropriately. Shooting a Colonial entry, a Tudor roof, or Art Deco barstools isn’t about just making sure the element is in frame before clicking the shutter. Composition matters. Light and shadow matter.

There are very few photographers operating in the Metropolitan New York (Tri-State) area with the specialist knowledge required to deliver the kind of top-quality artistic photography required to bring out the finest details of interior design or architectural features. There’s only one with my eye—only me using the technique I’ve refined using decades of experience and a relentless pursuit of cutting edge gear, processes, and technology.

 

Technique


Every image I create begins before I’m even on site and isn’t finished until long after I’ve returned to my studio for post-production. The length of my process is probably the thing which surprises many of my clients the most, but for me it’s tied into my life as a professional visual artist. As I’ve mentioned: I didn’t become a specialist photographer overnight. Your images don’t just pop out of my camera because I showed up and waved it around for a while.

While working out the details of the job I begin working on a plan for the shoot. I work with you to identify the critical features of the subject at hand and come prepared to ensure that the raw images I capture are in line with your needs.

At the shoot itself I involve you as I scout the scene—this ensures that you know what you’re getting. I discuss specific images I plan to set up and capture, as well as find and identify the details you most want to see immortalized. I spend a good amount of time making sure that I have the right natural and artificial lighting set up. This is critical as the balance of light and shadow framing your interior and architectural elements such as texture, color and detail is something which is incredibly difficult to properly emulate in post.

In-studio work after the shoot includes the retouching I mastered earlier in my career and the compositing methods I’ve developed working as a specialist. You don’t get an image that just happens to be the best one I shot of a scene. Instead, you get one which has been created from perhaps four, seven, or even something amazing like twenty different images. Each individual image’s best pieces placed into a single, glorious composite which captures what your interior or exterior is like to behold in person.

Please take a look at some before and after images after they were finished going through the post-production process. You will see how vital a role post-production can play into creating the image piece for you:


For this image I was tasked with an almost impossible request. Take a twilight architectural photograph of this house on Long Island. The issue were we had an overcast day/evening, and the homeowners were out of town and could not get any lights turned on.   I photographed this image a little brighter knowing that majority of my work on this image would be in post-production. The results came out great and is just an example of what can be done with retouching.


This image was shot for an interior designer based out of New York City.  Although he just did the design work, we want to show off some of the architectural elements including the catwalk hallway on the second floor.  It is evident from the before and after image how the lighting can affect the shadows, highlight and also the color cast along the walls and furniture.


After compositing several images to get the lighting correct on this beautiful Long Island home, we had to some some minor color grading to give it the look we are going after.  By adjust some color tones and fixing the sky, we created and entirely different mood in this image and the final speaks for itself!


This key to this interior design shoot was getting the textures right. That was from the clients perspective. From my standpoint, not only did I have to get the lighting on the textures correct, but I also had to make sure al the blemishes in this image were taken care of. More specifically, the reflections on the television and picture frame, as well as removing the shadow of the air conditioner unit in the window. It came it great and the client loved it!

Details


Contact me with your ideas today—together we’ll make art worthy of your interiors and architecture.