IIDA Perspective - Fall/Winter 2011 - 28

PosT-ProDuCTIon often takes more time than the shoot itself, which is why most photographers charge a fee for each final file. This is when your photographer will format the raw camera files to high-resolution 300 DPI TIFF or JPEg files and sharpen the image. They’ll remove any visible dust and small items like exit signs or power outlets that detract from the design. Photographers today almost always “bracket” a shot, which means they take multiple exposures of the same shot, and then in post-production they layer the different exposures to create one perfectly balanced file. For example, when shooting an interior, a photographer is likely to shoot one bracket for the view out the window, one for the room itself, and one for the ceiling lights, to insure that nothing will be “blown out” or too dark in the final file. It’s good practice to view the final files at 100 percent to make sure the quality of the retouching meets your standards. For file size, generally those from most 35mm DsLrs should be sufficient, unless the images will be used in extra-large format, such as a banner or mural.

“A TALEnTED PHoTogrAPHEr CAn brIng To THE sHooT somE oF THEIr oWn EXPErIEnCE— THEIr oWn PoInT oF VIEW.”

Let your photographer know if you plan to submit your project for awards or publication and where else you envision the images living, since these objectives will impact the photographic strategy. For marketing materials, for instance, your objective may be to have a few exemplary images of a project type; for a slide show on your firm’s Web site, you’ll aim for a series of shots that tour the viewer through the space. Consider the benefits of maintaining a long-term relationship with a photographer. He or she will become attuned to your preferences, and a consistent vision of your work will showcase it in a harmonious way—especially when different projects are viewed together, such as in a monograph. At the same time, you may want to try out a new visual style. If you’ve got your eye on a particular photographer who you’re afraid you can’t afford, approach them anyway. There may be creative ways to lower their expenses, if not their day rate. A less expensive photographer may have less experience, which can end up being more costly if the results are unsatisfactory and you require a re-shoot. but you can also start them out with a scouting-shot assignment to sample their work. Photographers of interiors and architecture carry great responsibility. We’re often given a day or two to document what took designers months, sometimes years, to execute, so good communication and collaboration are vital. so is trust. give up a little control and allow the photographer to deliver beyond the assignment to document your project. Have faith that they’ll be true to your design vision while contributing some insight of their own—and showing your work in a new light.

Above: Houses at sagaponac by

stan Allen Architect.

perspective

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