In this commercial photography shoot for Audemars Piguet, a high-end Swiss watch dealer at the Shoppes of Bal Harbour in Miami, we focused on the interior features that make their new boutique so unique. The lighting under the main table gives it a futuristic feel and the illusion that it is floating, while in contrast the use of stone and wood elements and the tv screen rotating images of landscapes give it a more natural outdoors look. The little rock gardens with live moss are a really nice touch as well. From a professional photographer’s stand point this was a fun project the store was very well lit but we did hit a few accents of our own lighting to bring out some details.
In this beast of a post production project for Artefacto I was once again asked to make miracles happen to turn this showroom model unit for the soon to be Grove at Grand Bay in Coconut Grove, Miami into what looks like a penthouse apartment sitting room. In the before and after images above you can see that the room I was dealing with presented many challenges. As many commercial photographers know, preconception of the final image in post production had to be thought about while the shoot was happening. The view from the before image features a row of fake floor to ceiling windows with a printed picture of what the view will be. Artefacto’s creative team provided me with the original photos taken to print the window view, I then had to free transform and perspective control those files to fit exactly over the printed windows. Strategic professional photography lighting was set on location to bring the After image to life and further color balance was required in photoshop to give the room a daylight look to match the dropped in view from the outside. The final image is going to be used for Artefacto’s advertising campaign for this location and will be featured as a double page spread in Ocean Drive Magazine and Florida Design
Check out my previous “Before and After” post to see a little video I put together for more before and after architectural photography samples.
(to view in HD change to 720p on the settings icon on the bottom right of the video screen)
Professional Photographer Craig Denis sheds some light on a few images from his Interior and Architectural Photography archive. The before and after images in the above videos demonstrate what great lighting can do to enhance a photograph. These images have made for great advertising photography campaigns for his commercial clients.
Craig is currently based in Miami, Florida but is willing to travel anywhere for a photo shoot.
Artefacto, is a Brazilian based furniture design company which is making quite an impact in the Miami interior design scene. Working with Alef Construction Group, they provide fully furnished condos in some of Miami’s most sought after spots to live. In this project I was commissioned to shoot a completed project at the Ocean House on South Beach for an advertising campaign to push Artefacto’s new furniture product line. These images were featured in Florida Design Magazine as well as other South Florida publications.
Yacht Club at Brickell is an AIMCO run property down in the high-end Brickell area of Miami. Set against a backdrop of Biscayne Bay it offers fantastic views of both downtown as well as the Bay and Atlantic Ocean. After shooting some environmental portraits for AIMCO at the Flamingo on South Beach, they contacted me to shoot some architectural photography of the facade of the Yacht Club both at twilight and during the day for some new commercial advertising that they are planning to do. When shooting a subject like this it is always important to make the building and surrounding landscaping look as clean as possible and that often means a little extra photoshop time than a professional photographer is willing to spend, but when the end result is as clean as these images look it is well worth the extra effort.
Michael Dawkins Home is a well known furniture and interior design accessory store located in the heart of Miami’s Design District. Known for their eclectic minimalistic approach, the products that they carry are usually have a neutral feel with a very unique, timeless quality. The samples featured here are new pieces designed by Michael Dawkins himself and unlike the Scan Design photography shoot that we did, Michael wanted to keep the lighting bright and airy and have it shot on a white seamless with minimal shadow drop. These images will be used in his new advertising campaign in Miami and as a commercial photographer, shooting simple product shots are one of my favorite things to photograph. Keeping the mind set less is more often applies to the the art of professional photography.
When I was approached by BG Studio International, interior designers from New York City to shoot another commercial photography project I was excited to hear that this would be the 3rd cruise ship that they helped design. They already had won awards for this project from just their design renderings alone and they were eagerly awaiting these images for a publication. We only had a limited time to complete a pretty vast shot list aboard Celebrity’s newest ship the Reflection and many challenges came with this project. The beautiful Reflection Suite was among the most challenging with it’s massive wall of windows overlooking the stern of the ship. The room was completely in silhouette and needed to be brought out with strategic strobe lighting to balance the interior with the view from outside, a technique that many interior photographers have had to master.
After another run in with a client last week regarding the all mighty copyright beast, the not so fun side of being a professional photographer has once again come out. This time in the form of a work made for hire situation, which many of you already know is a deal breaker for me. I have decided to create a FAQ page on my blog and this post is pretty much a mirror of that from following statements and questions below that were taken directly off the ASMP website and are meant to help educate potential clients and emerging photographers on the industry standard in which professional photographers work.
Most, if not all potential clients have heard of copyright. How much they know about copyright law and how they feel about it will vary dramatically. Some are strong supporters of artists’ rights. Others believe that copyright law has gone too far and feel the use of creative works should be more open and democratic. Still others will be focused on, and bothered by, the idea that you can re-license images originally created for them. Finally, another fraction will simply be unfamiliar with the business of licensing photography altogether.
Below are typical questions that commercial photographers get when approached by new clients:
Q – Client: “Why isn’t your price simply time and materials?”
“What is your day rate?”
A – Commercial Photographers: I do not charge on a day rate or hourly basis. Each project is unique, and time is only one factor I consider when determining my price for a specific assignment. Photography is a creative process and production time is rarely an indicator of value.
Q – Client: “Why do you need to know how I am going to use the photographs?”
A – Professional Photographers: Photographs are intellectual property, and licensing their use is how I generate income. The fees for a specific project are based on the use of the photographs because the more the images are used, the greater value they have. Since they’re worth more, they cost more.
Q – Client: “You cost more per hour than my attorney, why should I pay that?”
A – Commercial Photographers: I do not charge by the hour, so dividing the total cost for this project by the hours estimated for me to be on site photographing does not give you a clear explanation of my fees. My fees are based on the creative and production needs of the job, the expenses, and the license terms we agree upon for use of the images. Factors other than time are frequently more influential in determining my price for a job.
Q – Client: “You mean I pay you to take the pictures and I don’t own them?”
A – Professional Photographers: Photographs are the intellectual property of the creator. Much like software or a book, you can purchase the use, but the creator still owns the material. I own the rights to my photographs, but I can write a license that will let you do whatever you need to do. My price will reflect the value of that license.
Q – Client: “I do not want to come back to you each time I need to use these pictures.”
A – Commercial Photographers: I am more than happy to license a package of rights for these photographs, but you may be paying for uses you do not really need. I am service oriented and accessible if additional uses arise. My goal is, of course, to build a long-term business relationship, so tell me what your plans are and we can work out an equitable license.
Q – Client: “I do not want someone else using my images.”
A – Professional Photographers: I am happy to provide you a price for exclusive use of these images, but because this type of license prohibits me from generating any additional income, it will significantly increase the cost of the project. I suggest we compromise and extend you a limited exclusivity — say, six months. This gives you premiere use of the images, but it doesn’t restrict my ability to earn additional income forever.
*ASMP is a great resource for professional photographers to gain and share knowledge on the business of photography.
Humberto the maintenance manager at the Flamingo on South Beach is the first from a series of environmental portraits for AIMCO’s “Meet Out People” advertising campaign which will be featured on their new upcoming website. Strobe lighting was used to balance the midday sun to bring Humberto out of silhouette in the outside shots.
The retro, minimalistic style by AJP Design Systems really fit this recently restored vintage 1940’s house. Sitting quietly on Miami Beach’s Normandy Island it has stunning views overlooking Biscayne Bay. We chose to shoot the back at dusk to use professional lighting to make the white house pop against the deep blue sky, a standard trick for architectural photographers.