IIDA Perspective - Fall/Winter 2011 - 26

“A PHoTogrAPHEr sHouLD bE ComForTAbLE sHooTIng WITH PEoPLE, WHo HELP ConVEy sCALE AnD HoW oCCuPAnTs usE THE sPACE.”

start by choosing a photographer whose work you respect and who can add something special to the visual presentation of your work. remember that project photography at its best is a form of storytelling that narrates what it’s like to be in a space. A successful shoot should deliver a set of images that walk the viewer through your project, allowing them to experience it as if in the flesh. A good professional also curates, knowing how to place furniture, props, and people in a way that not only balances the frame but also helps your project read more clearly. not least, a talented professional can bring to the shoot some of their own experience of your space—their own point of view—which can reveal your project in a new way. As a photographer, I’ve found that these shots often end up being the images the designer ends up liking most. And as a former photo editor at a design magazine, I was most taken with images that went beyond illustrating a space to disclose its life and vibrancy. Talk to your prospective photographer to better understand how he or she works. Have they experienced challenges similar to the shoot you are commissioning— a tight interior space or a space with no available daylight, for example? request examples. They should be comfortable shooting with people, who help convey scale and how occupants use the space. most photographers have the capability to shoot to their laptop, so you can review images at the site, ensuring you get the shots you need. If you require video in addition to still photography, check to see if they offer that service as well. keep in mind that taking the pictures is only half the process; post-production is the other half, and you want a photographer who can deliver high-quality files ready for print or other forms of distribution. (see sidebar, pg. 28.) other issues to raise include asking for an itemized estimate before the shoot, so you can review the anticipated expenses and determine if they’re all necessary. A stylist’s day rate is often as high as the photographer’s, so finding a photographer who does their own styling can mean considerable savings. Find out if they own or rent the lighting and camera equipment, since you should expect a charge for rented equipment on the final invoice. Also inquire if your photographer requires multiple assistants to help with any clean-up or rearranging of furniture at the shoot. This will be at an added cost, but especially for office shoots, which in my experience require the most clean-up, it’s helpful to have two assistants. While it takes superior design work to win awards, strong photography of such projects is essential to succeed in competitions. Familiarize yourself with the

Above left to right: Virginia museum of Fine Arts by rick mather Architects and smbW Architects; grey group offices by studios Architecture. opposite, clockwise from top left: The nelson-Atkins museum of Art by steven Holl Architects; bank of America lobby by Cook+Fox Architects; glass Loft by serero Architecture.

perspective

Table of Contents for the Digital Edition of IIDA Perspective - Fall/Winter 2011