Hotel Design- September 2008 - (Page 32) photography ILLUMINATION Photographer Dennis Anderson is known for his mastery of lighting, a key component in outstanding design photography. His skills are on display in this photo of the Farallon Bar in San Francisco. DENNIS ANDERSON “All photographers are different,” Desrochers says. “Most international photographers allow us to own the photos once we pay for them. Local photographers own the copyright and will not allow us to share them with the hotel company without paying an additional fee.” According to the American Society of Media Photographers, copyright goes to the photographer as soon as the camera clicks. Anderson, like many photographers, is ardent about his right to own the copyright for every image he shoots. “I sell unlimited non-exclusive usage, no third-party usage without prior arrangement, and I retain the copyright. Usage rights are transfered on payment of the invoice,” Anderson says. “This applies to most designers and architects and is a bit more liberal toward the client than what the ASMP guidelines suggest. I have refused to sign many ‘work for hire’ agreements where the client attempts to own the photo. They are buying or licensing the use of what can be understood to be intellectual property—in this case our photography.” Miller does not necessarily like this arrangement. At Leo A Daly, she only works with photographers who sign over the rights of the photography to the firm. “I wouldn’t do it any other way,” Miller says. “A long time ago, they’d have the rights to it, then I’d have to call for every image I needed. I’d rather pay more and own it. I’ve worked with other photographers where I’ve said this is the deal. Most say ‘no,’ and I say ‘good bye’ … It’s our work and they are taking a photograph.” This works for Wilson. “I only reserve the right in that case to make sure I can use it in my portfolio and my promotion. And if they want to use it for billboards or whatever, then it behooves me to do that and it gets my shots around. [It’s important] to be easy to work with. That keeps people coming back.” These philosophies may differ, but in the end, everyone agrees on the power of the result. “It’s the aeshetic aspect, the warmth of walking into a hotel,” Catalano says. “That’s not the world [the guests] live in, and they want to see it. They want to step into that picture.” –Chris Crowell Quick Photo Tips Set up the proper amount of lighting so key elements of the design—large and small—are highlighted Be sure to think through the point of view Don’t blow out the windows—show the view Don’t be afraid of shadows SOURCES: PHOTOGRAPHERS DENNIS ANDERSON AND MICHAEL WILSON 32 Hotel Design | SEPTEMBER 2008
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