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.
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!
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.
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.
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.
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.