Hotel Design- September 2008

photography a design in his or her hands. That’s why designers at Leo A Daly have Michael Wilson on speed dial—he is their guy. This strategy of finding and sticking with a photographer, if not the most prevalent, seems the most prudent. “I met up with him doing work with Rosewood Hotels & Resorts; he was doing some photography for them,” says Patricia Miller, corporate director of hospitality for Leo A Daly. Upon arriving at Leo A Daly 10 years ago, Miller worked to bolster its portfolio. To do this, she needed Wilson. “You have to capture that feeling; we need to have consistency of our work quality-wise for photography.” The firm has worked with other photographers, but Wilson best fits its aesthetic. “[It’s all about] whatever can help the designer sell their talents to the next hotel,” Wilson says. “It’s more about their design than your cool photography.” Miller and Wilson have a solid working relationship and similar philosophies on the business. They match up. “Mostly we use the same photographers, but when we need to find a new one, we try to find someone in the same area that we need the photography done, to keep down travel costs,” says Josie Desrochers, marketing coordinator with DiLeonardo International. “We also look at photos taken by photographers for other designers and if we find someone, we approach them for [an estimate].” Sal Catalano helps designers and photographers find their match. An agent with New York-based Redux Pictures, Catalano receives information from a project and then recommends possibilities from his stable 28 Hotel Design | SEPTEMBER 2008 LEAD BOLD: Description LEO A DALY DENNIS ANDERSON POINT OF VIEW Dennis Anderson’s photo of the St. Regis San Francisco (above) shows the room’s focal point, layout and mood all at once. By shooting the mirror at the One Ocean Resort & Spa, (right) photographer Michael Wilson easily and artistically displayed the entire room. of more than 300 photographers. “My job is to understand who I have, and I’ll put together three or four portfolios,” Catalano says. “It used to cost a fortune because you had to give an actual printed portfolio, but now I just shoot out a website. So [the hotel or designer] can review it from there and say, ‘That’s the style I want.’ If they need additional portfolios, I’ll forward them on.” Some jobs might create stock photos, some may aim to convey warmth, others may involve people in the shot—all of these variables are important when matching a photographer with a designer or art director. Communication This is the gear that makes it all turn. Finding the right photographer, setting up the right shot—all of this comes from sharing and conveying ideas. Communication is especially important when it’s not

Table of Contents Feed for the Digital Edition of Hotel Design- September 2008

Hotel Design - September 2008 Contents First Word Design Pulse News Briefs Boho Chic in South Beach Bath Trends Waterworks Photography 101 Illuminations First Looks Caribbean Cool Updating History On the Wall Call for Entries Technology Trendlines Form & Function Designer Viewpoint Under the Texan Sun Brand Outlook Call for Submissions Bringing Outside In Facelifts Portfolio People Watch Good Life Up Close & Personal Source List Ad Index Signature Projects

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