Preparation of an architecture photo shoot

Good planning is half the battle.

Careful planning of an architectural photo shoot is crucial to ensure that the images meet your exact requirements and expectations. Thoughtful planning makes it possible to tailor every detail - from the lighting mood to the optimal time to shoot to the selection of specific subjects - to your intended use of the images. This has the great advantage that you can use the images precisely for various publications such as trade journals, marketing materials or online platforms. Professionally planned and executed photo shoots therefore not only offer you aesthetically high-quality results, but also clear added value in the versatile and targeted use of your images, which ultimately maximizes the impact of your architectural projects in the public eye.

1. preliminary talk

1.1 Basics

  • Project idea and concept: What is the architectural concept of your project, who is the user and what story should the photos tell?

  • Target group: What is the aim of the images? Who should be addressed?

  • Location and plans: What is the exact address of the property and are there plans and construction site photos? Alternatively, a pre-inspection can be planned on site. Based on this information, the shooting times are planned according to the best sun positions for the building.

  • Briefing location: The briefing for the recordings preferably takes place as an online conference.

1.2 Type of recordings

  • Photography type: Do you need photographs of a finished object, photographs of several objects, construction site documentation or art photographs?

  • Indoor and outdoor shots: Do you want indoor or outdoor shots, or both? Where is the focus?

  • Video recordings: Should video footage of the property be recorded in addition to the photographs? This can be useful to understand the connection between the individual rooms. With moving images, you can set your project apart from the competition.

  • Aerial photographs: Aerial photography is particularly good at providing an overview of complex construction projects. In addition, the interaction of the building with its surroundings can be visualized very well with this technique. The use of a drone is also recommended in combination with video recordings. Aerial photography requires special applications and approvals and should therefore be applied for 14 days before the start of the shoot.

  • High-resolution images: If you are planning image prints in a format larger than A1 (118cm long edge) or want to regularly use detailed sections from the images, it is worth using an ultra high-resolution medium format camera with 101 megapixel resolution.

  • Interior styling: Do you require a stylist or temporary furnishings for the shoot?

1.3 Image aesthetics

  • Image formats: What are the requirements for the format (portrait, landscape, panorama, square - depending on the medium) and the composition (open spaces, perspective)?

  • Visual language: Is there a defined visual language or a corporate design guide? Which color mood (intense, reduced, monochrome - integration into existing portfolio) is preferred?

  • Furnishings & building components: What role does the furnishings and the use of special building materials and technical equipment play in the interior shots? Should the staging of these objects be part of the assignment?

  • Persons: Should the object be shown with or without people? Are there volunteer models on site or should models be booked?

  • Lighting mood: Is there a preferred lighting mood for the shots (e.g. morning light, daylight, twilight or "blue hour")?

  • Weather conditions: Are there preferred weather conditions (sun, clouds, precipitation) or seasons (no foliage, green foliage, colored foliage)? How flexibly can we postpone the date in the event of unfavorable weather?

  • Interior lighting: Should the artificial light be switched on for interior shots? Are there programmable lighting scenes that are preferred?

1.4 Scope of the photo order

  • Subjects and shooting days: How many subjects should be photographed per building/per room? How many interior and exterior shots do you need?

  • Timing:

    • When will the construction work be completed and all building materials and barriers removed from and around the building?

    • When will the user move into the building? Should the photos be taken before or after the occupation (focus on pure architecture or use by the owner)?

    • Are indoor and outdoor shots possible on the same day or do they have to take place at separate times?

    • At what interval should construction progress reports be created?

    • Are there planned deadlines for publishing the images in magazines, online portals or competitions?

    • How certain are these dates? Are delays foreseeable?

  • Use of the photographs: How would you like to use the images? This information is important for calculating the rights of use.

    • A - Own uses: Website, printed matter, lectures, presentations, exhibitions, use for sales products

    • B - Own social media profiles: Facebook, Instagram, Twitter, LinkedIn etc. or architect profile on web portals such as www.baunetz.de

    • C - Architecture prizes: Submission to architecture awards or the Day of Architecture

    • D - Editorial use: daily and weekly newspapers, architecture trade press, other magazines, book publications by third parties

    • E - Corporate publishing: PR articles, company magazines

    • F - Exhibitions at trade fairs by third parties: Exhibition in museums, real estate fairs, etc.

    • G - Use by third parties: Third parties who are not involved in the direct contractual relationship (e.g. building owners, users of the building, authorities, planning offices involved in the construction, executing companies, construction industry)

Your offer within 48h

After the preliminary meeting, you will receive your personal offer for the photo and video shoot within 48 hours. If you have any questions or requests for changes to the offer, this is of course possible. When you return the signed offer, I will also confirm the shooting date. Projects and timelines change regularly in the construction industry and I do my best to accommodate changing schedules in order to achieve the best possible image results in our photo production.

2. briefing and checklist preparation

Careful preparation is crucial for the success of an architectural photo shoot. As an architectural photographer, I can only capture the state the building is in on the agreed day of the shoot. In order for the photos to achieve the desired quality, certain conditions must be created in advance. Close coordination between you as the client, the construction management and the users on site is particularly important here. The following checklist serves as a guide to ensure that no disruptive circumstances interfere with the photo shoot. In this way, we avoid surprises on site that could arise due to misunderstandings, unfinished work or unforeseen events that would complicate the photo production.

2.1 Basic information

  • Address and plans: Make sure I have the exact address of the property and all relevant planning documents.

  • Planning documents:

    • Provide site plans or floor plans in order to draw in your most important photo motifs. Are there any particularly noteworthy angles or lighting moods?

  • Contact persons: Name important contact persons and their mobile phone number and e-mail address on site:

    • Representative of the client on site

    • Owner

    • Manager, janitor, building technician

    • Security

  • Access:

    • At what times are the grounds and buildings accessible? Do I need special access cards or keys? What are the contact details of the person who controls access?

    • Where can I unload my equipment and where can my vehicle be parked during the shoot without disturbing the pictures? Do I need a parking permit?

    • Can I move around the site independently or do I need to be accompanied?

  • Aids on site: If special motifs require special equipment (e.g. cherry pickers, ladders, window cleaners, water hoses to water the road), this should be available on site.

  • Safety equipment: Are helmets, safety shoes, high-visibility vests or climbing harnesses required and provided?

2.2 Condition of the property

  • State of construction: Make sure that all construction work has been completed (painting, floors, ceilings, electrics) and that construction site residues and protective films have been removed. This applies in particular to scaffolding, site containers and construction machinery.

  • Final cleaning: The building should be thoroughly cleaned before the shoot - especially windows, floors and furnishings.

  • Technical functionality:

    • Can all technical equipment inside and outside (lighting, blinds, sun protection) be controlled manually?

    • Are there technicians on site to assist with problems?

    • Can the lighting be left on overnight and the blinds raised?

    • Are there motion or light controls for lighting or security that cannot be controlled manually?

  • Furnishing:

    • Are all the furniture, plants, artworks, logos and decorations in place according to the furnishing plan?

    • Have all light sources been checked for functionality?

  • Outdoor facilities:

    • Have the outdoor facilities been completed?

    • Have newly planted plants grown sufficiently?

    • Are there outdoor lighting, sprinkler systems or fountains? Are these functional and controlled according to the admission?

    • Is it ensured that no vehicles (suppliers, tradesmen, users) park in areas that are not intended for this purpose? Should a parking ban be applied for?

    • Disturbing elements of the outdoor facilities can often be seen directly in the picture or in reflections of the windows or can impair the view through the windows in interior shots.

  • Users:

    • Are owners, users, employees and customers informed about the duration and scope of the shoot?

    • Are events, cleaning or maintenance work taking place in or in front of the building? (Major events in the vicinity can also be a hindrance).

    • Can decorations interfere? (Christmas time, Easter or other festivities)

    • Are the rooms tidy and in the condition they should be in the photographs?

    • Can users be photographed as part of the architectural shots?

2.3 Legal protection

  • Property Release To ensure that the production and use of the photographs is legally unobjectionable, the holder of the domiciliary rights must give their consent in writing and sign a photography permit

  • Model release: The same applies to persons depicted in the photographs.

  • Sensitive areas: Are there areas in the building that may not be photographed? Are these marked on the site plan?

  • Neighboring properties: Is access to neighboring properties permitted? Are contact details of local contact persons available?