Residential Real Estate Photography special technique
Though I don’t do much residential real estate photography , since I am so busy with commercial architectural photography, I was hired to shoot a home to be listed on MLS, and it immediately got a full price offer in just a day on the market. The living room of the house had a vaulted ceiling so to show as much of this room as possible, I chose to photomerge two shots in Photoshop. This require that I shoot one lower and one higher image. I can do this because when I shoot with my Canon 17mm Tilt Shift lens, it allows me to maintain the true verticals in the images, allowing Photohop to be able to merge the two images into one. This provides a nice wide shot but adds the dimension of height so the viewer can see lots more of the room. I hope this stacking approach helped sell this house for my EXP Realty client!
Architectural images that take a bit more work in Photoshop
Some architectural images take a bit more work. Occasionally as a professional architectural photographer it is necessary to dive into Photoshop to do painstaking hours of retouching. Here is an example of one of those architectural images that requires just sitting down at the computer and digging in. Knowing the nuances of Photoshop helps. Here are some of those tricks. First a single exposure of the building right out of the camera.
The after shot after fusing 5 exposures, cleaning up the wires and poles, adjusting color, cleaning up the pavement and replacing the sky.
Telephone pole wires are easy but not easy. The look straight but they are not – they droop. With the spot healing brush set to just a bit wider than the diameter of the wire, if you click on an edge of a window or some type of hard edge and then click as far at you think the wire will be straight enough to be contained in that healing path, and click on a final spot that also has a clean edge, you can make lots of progress cleaning up wires – even wires that cross windows and other parts of the building. Invariably there will be spot runs like this that will not work and you just have to pull out the clone stamp tool and do your best to match the length of the wire. Telephone poles will need the clone stamp tool – they are too wide for the spot healing tool. The spot healing too works as a content aware tool so it is looking for information around it to replace the selected area. Unless your telephone pole is sitting right over a nice clean stretch of brick, none of the healing or content aware approaches will work. Replacing the sky in this image is not too tough because there are no trees poking up over the roof line. A clean roof line is easy to select and then drop in a new sky.
Commercial Product photo shoot for Jon Archer
I just did a commercial product photo shoot for Jon Archer Designs. Jon handcrafts wood furniture and products. Subsequently, Jon is one of a dying breed of real live craftsmen. We shot in his manufacturing studio at his home. I used natural light and added 2 Canon 600 ex rt speedlights as kicker lights triggered by the Canon ST E3 RT wireless trigger.
Architectural Accent photography can be more alluring than the whole room.
Sometimes I get so wrapped up about shooting my conventional architectural angles and scenes that I forget to look around me for accent photos. Architectural Accent photography often tells a more intriguing story than the entire room in which it is featured. In this first example, this vintage bank vault door in Houston makes a loud statement about the gobs of money and cash happy history of the old oil days of south Texas.
This accent photo is one I saw while shooting at University Crossings in Charlotte. It is in the entry way to the leasing office of the property.
Windswept installed at Heckmann residence
Windswept installed at Heckmann residence.
Our neighbors fell in love with Windswept – 1954 Ford Custom from the Rust Rapture collection. It is a 33 x 50 inch canvas wrapped giclee print.
Here it is installed in their kitchen.
Photographs which harness dichotomy
This one I shot while walking the streets of New York. I love the door in this back wall flanked by two other walls all of which contain nothing. That door in the back leads to, I suppose, the greener side of the mountain. I did have to drop the palm in back behind the wall to add a bit more curiosity
This one is a different perspective on the view of the Pennybacker 360 bridge in Austin overlooking Ladybird Lake. If you ever made the hike up here you would know that it is not to be attempted in shoes like this.
Simple Photographer’s Contract
It’s not often I need to use a contract but it came up recently and thought it may be helpful to other photographers to have a scaled down simple 2 page agreement. Here is one you can just copy and paste. There is an option to ask for ½ of the fees up front which you can delete if you are comfortable with billing out on 30 day terms, as I generally do. Also there is a model clause that you can delete unless you are shooting people (portraits) or models. I used some real numbers in the estimate of fees that you can change out for your own purposes. Here you go:
This agreement is between ____________________________(hereafter “Photographer” “the Photographer” or “Photography Company”)
and ____________________ (hereafter referred to as “CLIENT”).
Scope of Work:
This contract is for services and products related to a photography shoot (hereafter “shoot” or “the shoot”) to take place at the following time and place:
__________________________________________________________
PHOTOGRAPHER will also perform retouching, post-processing or digital image editing services on these photos where artistically necessary. The final post production and editing styles, effects, and overall look of the images are left to the discretion of the Photographer.
Fees:
In consideration for the photography services provided by PHOTOGRAPHER, CLIENT agrees to pay the sum of
Photographer and gear | $1,600 / day | .5 days | $800 |
Photoshop retouching | $95 / hr. | 3 hrs. | $285 |
TOTAL Estimate | $1,085 |
CLIENT agrees to pay the photographer $___________ which is due within 30 days of the day of the SHOOT.
[[Option: CLIENT agrees to pay the photographer ___________ or the initial payment totaling 50% (fifty-percent) of the total price of the photography services upon signing this contract. The balance of the payment for photography services must be paid in full no later than 30 days after the SHOOT]]
If CLIENT is required to purchase photos separately after the SHOOT, payment for those photos is due immediately upon delivery of photos to client.
Expenses:
When applicable, the CLIENT is responsible for all travel, accommodation, meal and transport costs unless provided by the CLIENT.
Travel Expenses:
All travel expenses are based on the distance between the location(s) and the Photographer’s studio address. The first 10 miles roundtrip of travel are included. All miles in excess of 10 miles roundtrip are charged at $.58 per mile.
Delivery:
PHOTOGRAPHER will deliver review jpegs (proofs) of photos to CLIENT no more than 3 days after the date of the SHOOT. Final images to be delivered to CLIENT will be hi resolution TIFFs or JPEG images.
Image Rights:
The photographs produced by Photographer are protected by Federal Copyright Law (all rights reserved) and may not be reproduced, shared or sold in any manner without the Photographers explicitly written permission. Photographer extends to client perpetual rights to all images for use online and/or print for the purposes of promoting the CLIENT Company. Photographer will retain full rights to same images for the purposes of selling rights to vendors or for the purposes of promoting Photographer’s website and business.
Indemnification:
If PHOTOGRAPHER is unable to perform the services in this contract due to any cause outside its control, CLIENT agrees to indemnify photographer for any loss damage or liability; however, PHOTOGRAPHER will return in full all payments made by CLIENT to PHOTOGRAPHER in relation to this SHOOT.
CLIENT agrees to indemnify and hold harmless PHOTOGRAPHER for any liability, damage, or loss related to technological failure, including data loss.
CLIENT understands and agrees that PHOTOGRAPHER is not required to maintain copies of the photos from this shoot one year after the photos have been delivered to CLIENT.
CLIENT agrees to hold PHOTOGRAPHER harmless for any personal injury which may occur.
Duty of Client
CLIENT will obtain all permissions necessary for PHOTOGRAPHER to photograph at the SHOOT. PHOTOGRAPHER has no duty to obtain permissions for locations. CLIENT understands and agrees that any failure to obtain these permissions resulting in fines to photographer, or which prevent photographer from photographing the event(s) is not the fault, liability, or responsibility of photographer.
[[Optional for Portraits: Model Release
CLIENT grants permission to PHOTOGRAPHER and its assigns, licensees, and sublicensees, permission to use CLIENT’S image or likeness in any and all forms of media for commercial purposes, advertising, trade, personal use, or any and all other uses. Therefore, PHOTOGRAPHER may use CLIENT’S likeness and image on PHOTOGRAPHER’S website or other advertising. PHOTOGRAPHER may sell photos containing CLIENT’S likeness to third parties.]]
PHOTOGRAPHER Signature __________________________________________________
Date: ___________________________
CLIENT Signature: ______________________________________________________________
Date: ____________________________
OK so your camera hits the concrete lens first – lens damage!
What to do when your camera and lens hits the concrete floor – lens damage…
Just last week I was shooting for American Campus at one of their properties at Florida State in Tallahassee. My camera with my Canon TS-E 17mm tilt shift lens was mounted on my Manfrotto Neotec tripod. One of the legs of the tripod decided to get in the way of my foot as I leaned forward to reach for my cup of coffee. Down goes the whole rig – lens first – and of course this lens is like a huge eyeball – all round glass on the front with nothing to protect it. The front of the lens was greeted by a lovely tile floor. This is not the image you want to see when you turn around after hearing that horrifying sound similar to someone stepping on a wine glass.
After inspection I noticed that the lens fracture was an interesting pattern. The cracks in the glass were constricted to the outside of the lens. I also noticed that I could not turn the focus ring. It was lodged tight as a coon’s ass. $2,000 buck down the drain. If the camera was damaged, I would be doubling my pain. After regaining my senses, I tested the camera and it work perfectly. Why not shoot a test shot and see what I get? Amazing! The fracture in the glass did not show up in the shot, and the focus ring had locked up at a focus of about 12 feet which for a 17 mm lens still delivers lots of depth of field. I decided to shoot out the project with that focus setting with and take a chance – with the camera lens damaged.
Sure enough, my shots were clean. Some of the exterior shots were bit fuzzy at the farthest points but a bit of sharpening in camera raw fixed that.
What I appreciate:
- The indestructibility of the Canon 5D Mark III camera. This is not the first time it has meet the earth.
What I learned:
- Carrying an extra lens was still a good idea.
- Having gear insurance was a good idea. Mine was through Professional Photographers of America.
Architectural photographer for American Campus Communities
For 11 years I have had the honor of being the architectural photographer for American Campus Communities properties and traveling around the US. It requires patience with airports and car rental lines but it is worth it to see some of the most intriguing, cutting edge contemporary architecture and interior design for high end student housing complexes. This one is from Momentum Village in Corpus Christie, Texas. This image was shot at twilight. That magic moment happens about 20 minutes after the sun sets.