Architectural and Interior Design Photography – The Past and Present Cost of Technology

Photography in the 21st Century has changed significantly from what it was only ten years ago. In the past, an architectural photographer would have a significant but one-time investment in cameras and lenses. We would be faced with ongoing expenses for film, film processing and Polaroid test film that would apply to each photograph created. At the end of the chemical era, it was not surprising for these consumable expenses to exceed $100.00 per photograph and they would constitute 25% to 50% of the cost of photographing a project. If in a day’s shoot an architectural photographer would shoot five interior images and two exterior images, at the end of the day the bill to client would be in the range of $2000.00.

The Polaroid test film we had was of low resolution, rotten color (which is why I always used B/W Polaroid) and of very limited size; my 4×5 camera used 4×5 Polaroid and we had to make all of our decisions regarding composition, lighting and styling using a 4×5 inch print and a magnifying glass. It was better than trying to look through the camera, and we worked hard at making the most of each Polaroid because we all knew they cost money and the expense could rapidly consume our financial budget without a well-disciplined approach to the use of them.

Film processing was another expense variable that relied upon the skill and technical mastery of the photographer to maintain control and not blow our budgets. Because we were working on location without the luxury of having a photo lab on hand to process the film before we broke down a set, I would normally shoot six sheets of film for each photograph at the cost of $65.00 per photograph. And if the client wanted another version of the image it would require another six sheets of film constituting an additional $65.00 added to the cost of the project. Then it could take as much as a week to process the film and deliver it to the client for preliminary review and consultation on color and cropping.

As an architectural photographer in the San Francisco Bay Area I am thankful for the advent of digital photography, because we no longer need to strain our eyes to see if the flowers in the back corner of a shot are positioned properly. Today we can review the shot at full resolution on a laptop computer at magnification equivalent to a 20×30 print or more. Now we can not only tell if the flowers are in the proper location and oriented effectively, we can determine if the blossoms are overlapping each other or if the babies breath should be thinned. We can see the texture of the fabric on the sofa and the brush strokes in the paintings and make judgments of color representation and cropping on site before we break down and move on to the next photograph.

These most prominent of the benefits of digital photography and the easiest to describe. The rapid turn around, the retouching and other capabilities the digital process gives are valuable beyond measure. When digital photography became the standard, I and all of my clients all hoped the cost of a photo shoot would be reduced because we would no longer have the expense of Polaroid, and film processing. This hope soon faded.

The reality is that digital photographic and computer technology are advancing at remarkable rates, and to provide professional photographic services requires a significant and continual investment in upgrading hardware and software. There are significant expenses involved in simply archiving and cataloging the images we create for our clients because we need to have a triply redundant back-up system that includes off-site storage. And the expense of upgrading hardware and software is equaled or exceeded by the expense of continually learning the operation of new software and implementation of new procedures and industry standard practices to provide the services and products our clients need, not only today but in the foreseeable future as well.

The cost of consumable expenses (Polaroid test film, film and film processing) have been replaced by the cost of technology, and these costs must be billed to each photograph or project in order for the photographer to provide these services in an ongoing manner. The photographer who is not billing these costs to the project is a poor business manager and is operating with an unsustainable business model.

The costs of architectural and interior design photography to the client have not changed significantly, in inflation-adjusted dollars, in twenty years. The advent of high resolution test images viewable on the computer, and the instant proofing and image verification, rapid delivery times and digital display provide benefits far in excess of what was considered well worth the money prior to the adoption of the digital photographic process.

A thumbnail ad/link for Blogs & Social Media

I have been asked to prepare a small add that people can use to link to me on blogs and social media sites around the web. It needed to be small enough to fit anywhere, fast loading but also legible.

Here it is… small, clean, simple and fast loading. It’s linked to my homepage and ready to go for whomever may want to link back to my website.

ASID CEU “Photography for Interior Designers”

I have been approved by the IDCEC to give a Seminar for ASID members on “Photography for Interior Designers.” I am excited about this because I will be able to share my unique insights into creating photographs of interior design covering subjects ranging from composition, to styling, to the HDRI photography technique.

The seminar will be scheduled for sometime in November, will provide 0.2 CEU credits and is limited to 20 attendees. I will be working closely with Marie Chan, Pauline Hsu and Jane Higo to coordinate with other members of ASID.

Look in the ASID e-blasts and newsletters for more information.

Photo Credit – A Issue of Respect, Pride and Professionalism

Recently  I have been asked what form I would like my photographers credit to take when used on my clients web pages. As an architectural photographer in the San Francisco Bay Area it is important to maintain the highest professional profile possible. This little snippet of code will provide the credit due without being obtrusive to the design of my clients’ web sites.

Photographs by <a href=”http://www.djbphoto.com” title=”DJBPhoto.com Home Page”>Dean J. Birinyi</a>

Using the html code above will result in this line appearing on the web page.

Photographs by Dean J. Birinyi

I don’t worry about a copyright notice in my attribution because to make that effective the notice would have to accompany and be adjacent to each image and I feel that would be onerous and a unwarranted imposition upon my clients. I have seen some clients give photo credit for each photograph or for each project on the title page of the particular projects slide show or gallery. I think whatever works for the clients web site design is fine with me. I am very pleased to know that I am being given “props” on the title page of a project.

There are several reasons for appropriate attribution to being given a photographer when their photographs are used:

1. It shows the client has respect for the photographer and values their contribution to their advertising and marketing efforts.
2. It shows the client takes pride in their photographs and is willing to recommend the photographer.
3. It gives the photographer due credit for doing a good job.
4. It shows viewers that the photographer takes pride in and stands behind his or her work.
5. It  allows the photographer to gain greater exposure and notoriety.
6. And linking the photo credit back to the photographers home page creates the opportunity for the photographer to show his stuff to potential clients and possibly book a job or two.

I always give my clients credit for their work whether they are an architect, interior designer or contractor. You will always find their name and a link back to their web site (if available) closely associated to the images I create for them whenever I use them on-line, and when used in printed material I always give appropriate credit directly adjacent to the images.

When an image is used editorially I go out of my way to ensure appropriate design credit is given to my clients. This is usually not a problem when working with publishers but I feel it is my responsibility to do all I can to get my clients the recognition they deserve for their contribution to the photograph. I simply ask my clients to do the same for me in a professional manner.

Giving credit where credit is due is a matter of professional respect.

ASID CA Peninsula Design Chronicles

I just received the summer 2009 ASID Design Chronicles. It features all of the winning projects from the 25th Annual Design Celebration.

I am very proud that all of my interior design clients who entered projects won awards. I am very proud to have helped my clients gain the professional recognition they deserve.

Gina Viscusi and April Hocking of Viscusi Elson Interior Design won a Gold in the Single Family Residence Under 3000 Sq Ft category.

Breaker Beach

Robert Miller of Miller Design Company won a Silver in the Singular Space/Specialty category.

Private Residence

And Joseph Hittinger of Joseph Hittinger Designs won Three Awards.

Silver award in the Kitchen category

Sunset Idea House, Monterey, CA

Silver award in the Single Family Residence, Under 3000 Sq Ft category

Sunset Idea House, Monterey , CA

And Silver award Bath category

Private Residence

Interior Design Photography – Photographers Responsibilities to the Designer

Photographing interior design is a challenge not only because it is difficult to define a clear subject, but because the interior designers are talented artists in their own right with high expectations and sophisticated tastes.

In choosing to work with a specific photographer a designer has decided to not only make an investment of time and money in their photographs but to let that photographer have an impact upon the future of their business and their career.

Many photographers do not understand the level of trust placed in them by their clients and therefor do not recognize the importance of their photographs to the designer. The designer will use their photographs in sales presentations, to submit for editorial publication, in mailers, magazine advertisements and on their web site. The interior designer will be using their photographs in more ways, to do more things than any other business tool they posses other than their telephone. An interior designers photographs are every bit as important to their professional image as their business cards.

As an architectural photographer San Francisco Bay Area it is my responsibility to ensure my clients get high quality images that meet exacting technical standards in regards to exposure, focus and color rendition, but these technical issues are only the beginning of the photographers responsibilities. In order to  craft a visual representation of another artists work the interior design photographer must also have a strong talent for composition as well as the ability to communicate complex concepts to the client in terms the client can understand and to understand the communication of complex concepts being directed at them.

Communication is the Key – You Can Learn Nothing if You Do All the Talking

For many photographers it is not difficult to share their ideas with others, but it is difficult to have others share their ideas with them without being “put off” or offended in some manner. As interior design photographers we must be able to accept criticism not as  judgmental  or as condemnation of our ides, but as constructive contributions to achieving the goal of communicating the interior designers ideas and design concept. To achieve this we have to acknowledge that we are part of a team and be willing to accept that the other team members ideas are every bit as valid as our own and we have to hear what they are saying not just listen to the words, and incorporate their ideas in our compositions.

Two Heads Are Better Than One

As professional photographers we are expected to create dynamic images that catch the eye and elicit a visceral response from the viewers. By openly collaborating with our clients we not only create the best images we can, we create images that clearly speak with the designers voice. And this is what our clients’ need to make sales, win competitions and get published.

Interior Design Photography – Collaborating With the Interior Designer

I am often surprised to find that many photographers do not realize the range of talents, experience and knowledge their clients have at their command. This article is intended to shed light on the advantages of collaborating with interior designers on a professional photo shoot.

As an architectural photographer in the San Francisco Bay Area with more than twenty years’ specialized experience photographing interior design, I have learned that it  is important to know as much about your client as possible before you begin to create photographs for them. It is true that a good photographer can create wonderful photographs without in-depth knowledge of their client’s personal tastes and working style, but anyone who has worked with the same team on three or four photo shoots will tell you that knowing more about the people involved will result in much better photographs. This is why architects and designers will often work with a photographer for many years at a time regardless of economic considerations or outside influences.

It takes a significant investment of time on the part of the photographer to get to know his or her clients personally, to understand their unique style and how they want their work presented to the world, but to do your best job requires a commitment to the designer commensurate with the designer’s commitment to the photographer. The time invested will result in better photographs as well as a more enjoyable and profitable relationship for both the photographer and the interior designer.

Getting to know a designer personally requires taking time to chat when you deliver the prints, or to ask why a designer selected these particular colors, or inquire about what they were thinking when they selected that particular light fixture, and that is beyond the scope of this article. The deepest insights I have ever had regarding the style of my clients and the inspirations that have allowed me to create the perfect photograph of a project for a particular client have been the result an off-hand comment made during a conversation about the design or discussing the degree of success of an image, or lack thereof. So I strongly advocate that photographers and designers take the time to talk about design theory and style in terms other than furniture arrangement, lighting and styling for the photographs.

A understanding of the general background of interior designers will help the photographer to make use of the vast array of talents, skills and experience the designer brings to a photo shoot to create better photographs and also give them a better understanding of the interior design profession.

Education:
Interior design requires a high degree of education because it is a very demanding profession that requires intelligence, discipline and commitment. Designers will generally have a bachelors degree in interior design. This constitutes four years of specialized education focused entirely on the different aspects of design covering subjects such as psychology, ergonomic, ethics, furniture design, color theory, art history, floral design, architecture, construction, computer aided design, business management and even portfolio construction and presentation.

Training:
Interior designers will have  several years’ experience as an “apprentice,” or assistant to an established interior designer before they become licensed as interior designers. During this stage of the designer’s career they have the opportunity to begin to develop their own style and translate their theoretical education into real world experience.

Continuing Education:
Almost all designers will be members of specialized professional associations such as the American Society of Interior Designers (ASID), National Kitchen and Bath Association (NKBA),  or the National Council for Interior Design Qualification (NCIDQ).  All of these organizations require the interior designer to acquire a set number of hours of continuing professional education annually.

You can see that the interior designer has knowledge, skills and experience, not to mention artistic talents of a surprising depth and breath that can contribute to the successful completion of any photo shoot whether the project is residential, commercial, hospitality of institutional. This is why you should collaborate with your clients, actively seeking their input and ideas and always keep an open mind when a client asks a question, or makes a suggestion or a specific request. You can never tell when a simple hand gesture or the turn of a phrase can provide the inspiration you need to turn a good image into the perfect photograph.

Photograph of the Month: Sunset at Gray Whale Cove Beach

A sunset photograph at Gray Whale Cove State Beach in California

This month’s photograph is titled “Sunset at Gray Whale Cove Beach” this is a photorealistic High Dynamic Range Image.

Gray Whale Cove Beach is one of those hidden treasures of the San Francisco Peninsula. It is located north of Montara directly below the south opening of the new Devils Slide Tunnel. Perched atop the hill on the right side of the frame is a decommissioned cold war era radar emplacement that everyone who drives by wonders about because you can’t miss it.

Gray Whale Cove State Beach really is a great little secluded clothing optional beach and once you’re down on the beach you have no indication, by sight or sound that the famous California Highway 1 is “right there.” It is a little dicey getting to the beach from the parking lot because you have to cross the highway with no crosswalk and a restricted view of traffic. And I am sure that drivers aren’t expecting to see pedestrians along this particular stretch of the road so don’t be surprised to find that they aren’t paying close attention, but if you’re careful and courageous you can get across the highway safely. Maybe they’ll put in a pedestrian tunnel once the road construction is completed.

This photograph was shot using the High Dynamic Range Imaging (HDRI) technique. I have been working with HDRI for many years and for the better part of the past year I have been working with the new computer programs that partially automate the process and decided to see how well it worked on a beach sunset. I think the results are pretty good. The aesthetic result is that I captured the perceptual context of scene every bit as well as when I use the technique to photograph architecture and interior design in a more controlled environment. The technical result is that this image contains a wealth of detail in the highlights with no clipping and the shadows show no grain or noise whatsoever.  I did have to resort to compositing the image in Photoshop to get sharp representation of the crashing surf, but I don’t mind using manual methods.

I hope you enjoy this month’s photograph.

All images in my “Photograph of the Month” series are sized and formatted as a screen saver or computer desktop wallpaper. You can click on the image to open in a new window or download; please, share it with your family and friends, with my compliments.

Interior Design Photography

I just added a new page to my website briefly describing how I work with interior designers.

Interior design photography is both challenging and rewarding and I enjoy working with interior designers to create beautiful photographs of their work that benefit from the experience and talent of my client’s as well as my own. This collaboration results in stunning photographs that showcase the projects exactly as my client envisioned and makes their clients and prospects say “WOW! Look at that!”

There’s more to be learned on the page itself just follow this link.