Architectural Digest photography is boring!

Beautiful, but boring!!

I guess magazines have to have a theme, a "look".  But lots of building trade mags have the same "look"; very even, broad lighting, no interior lights on, no DRAMA!!

It's a bit sad.  These days, with fancy cameras and amazing software, and, most importantly, photographers who really know how to use them, we end up with the same look as film cameras 20 years ago.

Lighting techniques,such as my "constructed" technique, allow images to be made with the drama of targeted spot lighting.  Higher contrast, and the lighting of key parts of the image focus viewers attention.  This can be very helpful to architects and designers who want to highlight certain details of their work.

But industry folks like to be safe.  It's easy to be safe.  And boring!

Come on AD, you're in a rut!.  Break out!  There are loads of photographers that will help you create a new look.

"Habit is necessary, it is the habit of habits, of turning a trail into a rut, that must be incessantly fought against, if one is to remain alive."   Edith Wharton

Commissioning architectural photography; doing it right makes it easier to get it right!

I belong to ASMP; the American Society of Media Photographers.  This professional organization's goal is to aid the profession of photography; to aid not only photographers, but also users/buyers of photography.
In that light, ASMP and AIA, the American Institute of Architects, has put together some guidance material on architectural photography.  This covers things like selecting an architectural photographer, how a photography estimate works, licensing/usage of photographs, controlling costs, and even a checklist to make it work as smoothly as possible.  This info can be found at http://asmp.org/commissioning/overview.html.  This has much more detail and great info than I can address here.  I strongly suggest that you take a read; it will help you and all those needing images to ease their involvement with photographers.  We can concentrate on the details of your photographic need instead of the process.  I look forward to working together.

Greg

"Good enough" photography ISN'T good enough for your business

Photography has undergone a radical change in the last few years.  This is largely related to the abundance of cheap fancy digital cameras, and lots of people photographing everything.  Cameras are now even on most cell phones, so one is always available.  Someone in the office is a pretty good photographer, and these folks are shooting for their companies.  And now the photography is "good enough" and almost free for these companies.

The building industry uses photographs and other visuals to show their work.  These photographs appear on websites, printed brochures, proposals, and other marketing materials.  Photographs contribute to each firms brand.  They show potential clients what they are about, what they do.  These visuals greatly impact how potential clients come away from the interaction, and reinforce the brand.

Examine the marketing materials for the leading companies in your part of the industry.  I'll bet they have quality photography to promote their work, and reinforce their brand as "quality".  These firms promote this impression.  "Quality" is overtly all over their interaction with clients, including the most important visual; photography.  Clients want to work with quality companies.  And they will pay for it, because they know that the quality will last long after the memory of the "good deal" they got by choosing mediocrity.  

So I implore my clients to consider the feeling that their potential clients get when they interact with them.  Do their clients feel mediocrity after their initial website visit?  Or were they "grabbed" by that first photograph on that website homepage? 

I want my clients to value the quality photography that I strive to create every time I shoot.  I want them to understand that professional photography is essential to the success of their business.  And I want them to choose a professional, even if it isn't me.   I want them to choose great, rather than "good enough".

Service and Image Product Guarantee

Just like most businesses, I have to stand behind my services and final image products.  So this means a "guarantee". 

I guarantee that you will be satisfied (and hopefully delighted) with my service and image products or you don't pay for them.

I strive to have excellent communication with my clients before any work is done, so expectations are very clear.  That is a key requirement for a good business transaction.  So I offer clear estimates for the specific job, along with clear terms and conditions.  If a client deems them not clear, I will get on the phone to discuss their confusion, and clear it up before we move forward.

Then if these expectations aren't met, I will attempt to fix the situation, using the method that the client chooses.  This could be a re-shoot of the original captures, or a re-edit of the captures to create final image(s).  This could even be a refund of any retainer dollars already exchanged.  (My unrecoverable outside expenses related to the shoot will still be invoiced;  I strive to minimize that risk.  This will be made clear to clients before I contract for them.)

Bottom line, my success hinges on my clients' success.  My business is only in business to see my clients succeed at theirs.  My goal is to never forget that fact.

On-site post processing - Customer collaboration

With recent advances in portable computing, including color accurate photo-editing monitors, post processing of images can now be done on-site.  Interestingly, few photographers do it. 

While I am new to the business, the whole concept makes so much sense to me.  While it does take a bit of time, to download, backup, color-correct, classify, etc all the images from a shoot, much of this can be automated.  This is a good time to chill, relax a bit, and discuss what the client is really looking for.  Then we can get into the work.

As I mentioned in previous posts, I generally capture many different exposures of a subject, then blend in post.  Doing the blending on-site allows me to collaborate with my client, and show him what I am generating almost real-time.  The client can then comment about the specifics of the current blend, and suggest changes.  I can make the changes, many times in seconds, and he can then compare with a blend he just saw.  This can save hours of going back and forth about an image, and get the client a final image the same day.  I can then also put together a license and submit a final invoice.

The whole point of this approach is to improve that business feature that is so important these days, with many of us producing good images at low cost.  And that is SERVICE.

Photography is similar to many businesses, in that we offer a product along with service.  Obviously the "product" (the image or phodeo) is a key deliverable.   But service can also separate us from the "crowd".   Service brings in the human element; good service is about satisfying the people who are our clients.  We need to develop a relationship with clients, and collaboration is a very good way to do that.  Collaboration implies working toward the same goal, side-by-side.  What better way to develop a relationship that benefits all of us.

So far, I haven't had much opportunity to highlight that difference that I offer, but I believe that it is a difference that clients will appreciate.

Think about how you provide great service to your clients.

Thanks for reading.

Greg

“Constructed” Images – building photographs and phodeos from parts

Some people ask me why my business is called “Constructed Images”? Why the word “constructed”?

Well, I think it works for me for 2 reasons actually:

1. My method of making photographs and phodeos involves the assembling of many separate exposures into the final visual form, and
2. I photograph architecture, so my market is the building industry; architects, interior designers, and builders. These people “construct” the structures where we live, work, and play. So that seemed like a good tie-in.

The process of “constructing” images from many different exposures creates a lot of options and freedom, to ultimately create an image that my clients envision. Many photographers work differently, to capture the image in one exposure. This is the artist coming out. And many/most purchasers of photographs want the “look” of that particular photographer. However, the purchaser is then stuck with that, with only some editing available to customize the image.

I build my photographs with as many as 25 different exposures, usually with varying lighting for each exposure. All these exposures are then blended together to make the final image. Because I have all these “pieces” to work with, the final image can vary quite a bit. And, by communicating with my clients, they can tell me what to change to make it look like what they want.

My phodeos are also built from different pieces or exposures. However, the “construction” process involves a patent-pending method to assemble the final video-like form. Again, the client can provide feedback as the phodeo is assembled, and we can customize the final product.

The intent of this process is to really give the client what he/she wants, with little compromise. After all, the customer experience is really what separates businesses. I want to provide a unique product and customer experience.

Phodeo Concept - why not just call it "Video"?

What's all this about “phodeo”?  What is that?

Well, a phodeo is the result of taking photographs to a video-like form.  (PHOto > viDEO)  Of course, that is already done, in the form of modified slideshows.  They even transition with the famous Ken Burns technique called “pan and zoom”, as you can see in his documentories. And fades are standard fare.

I think there is enough difference in my phodeos to warrant a new term.  Traditional video has an inherent time basis.  The “action” usually changes with time; the view of the subject changes in some way as time progresses.  Or the camera moves.  When still photographs are used, there is no change in the subject with time.

However, with my phodeo, there is a change in the subject.  While the subject itself doesn't change (usually), the lighting does.  This lighting change provides some dynamism to the phodeo, as it progresses.  Remember, this doesn't have a time basis, though.  The change in lighting can occur in the time frame I choose.

This lighting change is due to the way I develop the still images for the phodeo.  Using proprietary lighting and blending techniques, I get still images with varying lighting.  Then I use a patent-pending process to put the images together into this audiovisual form.  From there, the phodeo is handled like normal video, in that special effects, audio, and text can be added.  Higher resolution than even HD can be used for displays with very high resolution.  This would work for computer display for  one-on-one showing.

Take a look at one phodeo I produced of the Denver Art Museum Hamilton Building. 

Phodeos work well for architectural subjects, which don't move.  That is my interest and target market.  I want to differentiate my work from standard video and videographers,  and hopefully garner clients that appreciate the difference.   It would also work well for other subjects that have minimal changes in the subject.

So take a peek at my other phodeos on my YouTube site; gregsprenger.

http://www.youtube.com/user/gregsprenger?blend=1&ob=5

Let me know what you think.

Thanks for reading,

Greg