1. The Photography Brief

Before we begin our work, we must first understand the requirements of each shoot. This is very important as it sets us on the right path to producing the images our client is looking for. We provide a questionnaire to each client to confirm all details such as the start time, access details, image quantity, etc. Depending on the details available it may be best to carry out a recce of the site. A recce is an additional service we offer and can be beneficial to help better prepare for the job ahead, highlight any problematic areas, assess lighting and scope out compositions. It involves a walk around the site taking candid photographs, usually lasting 1-2hours. All of this contributes to a more efficient shoot. In some circumstances with either larger shoots or locations with limited access, both Ryan and Aaron will conduct the photography together. With this information, an accurate estimate can be created and sent for your approval.

2. Prepare for Shoot Day

Once the brief and estimate have been approved, we request our clients to prepare the property for the shoot day. It is important that areas to be photographed are thoroughly clean and tidy, this includes all surfaces dusted down, windows cleaned, and beds made with minimal creases. It’s amazing what the camera can pick up sometimes! It is crucial styling is prepared in advance to keep the shoot moving efficiently. In some circumstances, styling is prepped just ahead of the photographer whilst the shoot is in progress. We always recommend not to over-style too. Less is sometimes more. A “lived-in” appearance always looks more natural and less contrived and so having some of the homeowner’s natural possessions included in the compositions can help add some real authenticity.  Styling is its own profession and although we don’t currently offer a styling service, we have undergone styling courses and during our 5 years of experience working with stylists, we have picked up a few tips along the way, so we’d be happy to advise here if required.

3. The Photography Shoot

We’ll conduct the shoot by photographing the property as previously agreed or in a way which is deemed best in correlation with the sun’s movements. We use a Sun app to track the suns path so we can stay one step ahead. The sun is essentially our dance partner! It can be great if it’s in the perfect spot and a hindrance if not, so we’ll move with it and against it when required.

Whilst shooting we use professional architectural lenses that allow us to keep the verticals straight up and down. These lenses also give us the opportunity to take two shots of the scene i.e top and bottom, then stitch them together in Post Production to create a much larger image. We will select the most appropriate focal length for each space to make it look it’s best with minimal distortion. Typically, we avoid using ultra-wide lenses as they distort the space and furniture within; giving a false and unattractive impression. They can, however, be handy in tight tricky spots, so aren’t ignored.

As the cameras are not as intelligent as the human eye, we take multiple exposures of each composition and layer on top of one another in post-production; which will be explained further in a later step. This means the camera will be positioned stationary for a length of time during each composition in order to capture all the shots required. During this time, it’s important that both the camera and the scene being captured remains the same to avoid misalignment in the layering process. Colour cards are placed into each scene helping to distinguish the correct colours later in post-production. We will shoot with natural light and use flash to fix problems and create shape with the shadows when required. If there is unavoidable hard sunlight coming into certain spaces, we may hang diffusion material over the windows to help mitigate it. As we line up each composition, we’ll tweak the existing styling to the camera, so it looks it’s best. Continuity is key!

4. Initial Image Approval

Once the shoot is complete you are sent all images from the shoot day to select the shots you wish to take forward to post-production and licensing. The images are sent via our customized approval software to make the process quick and easy.

5. Post Production

Using specialist editing software, we edit your approved images. All images Standard post-production includes the following: Lens corrections, lens dust removal, colour and exposure corrections, sharpening, removal of small artifacts such as cables and wall sockets. We offer a premium post production service for the removal or addition of larger objects such as television, artworks, window view replacements. This varies on a job to job basis and isn’t always required.

Touching on the image layer techniques mentioned earlier; using a variety of exposures for each composition we blend shots together manually to get full control of the desired finish. You can use computer programs for this commonly known as the ‘HRD effect’, however, the results vary quite dramatically from image to image and there is very limited control to tweak specific aspects of the scene.

6. Approval Stage 1

You are sent all edited images via our approval software where you can make comment on any changes if necessary.

7. Approval Stage 2

This is the final approval. The changes requested are made and sent back to you for re-approval.

8. Delivery of Completed Images

The Final images are delivered in high res 300dpi and low res 72dpi for web. Other resolutions and sizes are also available on request.

These are the steps we take which allows us to produce high-quality photography for our clients. If you are ever interested in working with us, please don’t hesitate to contact us. We would be more than happy to help you. You can also view our portfolio here. 

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The international property awards celebrate the highest level of achievement from companies across 5 sectors within the property industry around the world; development, architecture, real estate agency, interior design and hospitality. The awards are judged by a team of highly experienced professionals who focus on design, quality, innovation, service, uniqueness and commitment to sustainability. It is recognised as being a huge achievement to be nominated for the award and is honoured worldwide. Companies selected are then invited to attend a glittering awards ceremony for each region to celebrate their achievement.

We are delighted to have photographed Juliette Byrnes winning interior design of her Mayfair Town House. We were honoured to capture the full essence of her space from the beauty and variety of the materials within the soft furnishings to the lighting used to create the delicate ambiance. When photographing her space we made sure to capture all intricate details of the property to show off her achievement. 

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What is it?
Simply put, the ColorReader is a colour matching solution – it matches any colour in your surroundings to a specific paint shade. When there is even a slight change in lighting or texture, it can massively impact how a colour is viewed by the eye; the tool overcomes this by matching colours far more precisely and efficiently than the human eye can. Impressive, right?

Why it is used and who uses it?
The ColorReader has loads of purposes and is not only used by interior designers, but by painters too. An example of when you might use it is when designing a busy living space. You are going to coordinate an abundance of furnishings and accessories to one another, and want the colours to look just right. You may use it to match the cushion with the curtains and the wall-hangings with the lampshades, and then use it to coordinate these with an exact paint shade that will compliment all of these! Or suppose also you would like to touch up a wall in a kitchen that’s looking a bit worn, but you are unsure of what colour it was previously painted – the ColorReader can come in handy for that too! Designers can spend hours going back and forth between paint shades; deliberating, deliberating, deliberating. With this device, designers and painters can be sure of the perfect paint shade in a matter of seconds; it has over 95% success rate! From using this device, we have found that the more times you use it, the more uses you find for it – we love the fact that you can view a tonne of paint shades with the touch of a button. There’s no need to be carrying around bulky RAL and Pantone fan decks when they are in your pocket on your smartphone…

How it is used?
The ColorReader is small and portable, and it fits right into the palm of your hand. Simply download the mobile application, connect the device to your phone via Bluetooth, press calibrate and you are ready to go! It is easily used by holding the device against the colour you would like to match, and pressing “Read” on the app. The most accurate three paint shade matches will then appear with specifications of the colours, and the option to coordinate colours either complementary, triads, analogous or monochromatic.

One of our clients was designing a large property and came across a covered brick wall. They used the tool to measure the colour of the wall and create colour palettes within the app to find furniture and fabrics to compliment it – and it really worked! The great thing about this was that they were also able to share these paint palettes with their client which allowed the client to easily be a part of the decision-making process. All of the colours within the room balanced, and everything matched just right – we were very impressed.

This tool works like magic! The days of Star Trek are here with futuristic devices like this coming into play…

The post How to record colours accurately first appeared on Interior & Architectural Photography & Video - Edinburgh, London.

As for the furniture in this apartment, every piece has been produced from one single Oak Tree! Local cabinet-maker Namon Gaston, designed and manufactured the furniture with help from kitchen specialist Richard Anstice, and upholsterer Peter Jones. As stated on the studio’s website, the design has been so well thought-out that the “natural clay plaster walls regulate humidity levels to the optimum human comfort range creating a calm atmosphere, the velvet limestone tiles sit softly with the cobbles outside and the underfloor heating keeps feet cosy at all times”.

We recently had the opportunity of shooting Porteous Studio and we couldn’t have been more pleased to work in such an interesting space. From a photography stand point, the studio was a fun but challenging space to photograph. Being surrounded by tall Victorian tenements there is little direct light entering the property – this creates a dark and ambient light. Fortunately, this is lifted by a large glass door and window spanning across the facade. This door is one of our favourite design features in the studio, with an eccentric pivot point resulting in a 1/3 ratio door opening…  its glorious! The design style of which is mimicked within the apartment by an adjustable screen separating the bedroom from the living area. This divides the two spaces retaining the feeling of openness without compromising natural light. We used long exposures to help bring the design to light whilst simultaneously retaining the natural highlights and shadows of the space.

With such a minimal interior (with no frilly bits!) we focused on forming compositions from the raw architecture and furniture. For example, we used lines from the window and dining table to help pull you into the kitchen. An abstract shelving shot was taken to emphasize how light travels through the bedroom shutters, and we took tighter shots of the sofa and curtain to highlight the soft textures breaking up the hard stone and linear forms. The combination of rough and smooth textures created balance in our imagery and put emphasis on the raw materials that really make this property unique.

If you appreciate minimal architecture and raw materials you’re going to love this hidden getaway. To find out more about Porteous Studio and Izat Arundell, or to book a relaxing trip to Scotland’s capital city, follow this link below to their website….

https://www.porteous.studio/

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Over the past year, we have had the pleasure of photographing many of Jessica’s interior designs in Edinburgh and London, including the makeover of a two-bedroom apartment in Edinburgh’s New Town, which was recently featured in the March issue of House & Garden. The gorgeous, open-plan flat is not only a stones-throw away from the magnificent Edinburgh Castle but is located on the edge of Stockbridge; an area full of culture and design. With it’s boutique shops, and trendy bars; this area is pretty up-and-coming!

When we first walked into the apartment to commence the photoshoot, we were hit by a complimentary mix of poppy colours, enhanced by a neutral grey-walled backdrop. With tall ceilings and large south-facing windows, the space immediately felt bright and airy with key light shining through the day’s cloudy sky. The windows of the apartment were on only one side of each room, meaning the light in the apartment was very one directional; this creates great contrast in the room with bright highlights and strong shadows. Lighting like this is a favoured type of ours; we love how it creates a beautiful gradient across the entire room, really making the space pop!

In every room of the apartment the colours and furniture placement were harmonious, resulting in very little tweaking before the shoot. Jessica’s impeccable styling really brought the whole design together- from books and flowers, to ornaments and other decorative objects; every item was colour coordinated and placed thoughtfully throughout the apartment without over-cluttering the space. Styling can really make or break the final outcome of an interior shoot and Jessica got the balance just right.

As Judith Wilson writes, “there Is no doubt that clients flock for Jessica’s assured, cool design-vibe”, Jessica’s talented and skilful styling means that she is definitely a designer to watch out for!

Project furniture suppliers and manufacturers:

Zoffany – paint on walls, “Shetland”
Charlotte James furniture – all upholstery items
Andrew Martin – fabric on grey/red striped sofa and ottoman
Designers Guild – yellow fabric on sofa
Christopher Farr Cloth – red fabric on chaise longue
Jennifer Manners – cushion on chaise longue
Fermoie – fabric on armchairs
Bennison – fabric on headboard
Brunschwig & Fils – wallpaper in bedroom
Pooky – lampshades in sitting room and also in guest bedroom

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The venues which they choose to host the events are always an area of intrigue and this year was no exception with the location being Burlington House on Piccadilly in Mayfair, London. This year’s space was quite the contrast from last year’s which was at the new Design Museum in Kensington designed by minimalist architect John Pawson. The Georgian architecture this year was home for the evening to the Andrew Martin awards which made for a cosy and intimate event as it was split across 3 different rooms.

As is tradition the awards started with the founder of Andrew Martin, Martin Waller introducing this year’s award. – Whose annual interior design review booked is being coined the Oscars for Interior Design.

He began the awards in the 1990’s, with a keen ambition to draw light to the interior design community as there was nothing else out there to reward interior designers for their efforts.

This year as every year showed a whole host of talented interior designers, and Stephen Fry took to the stage to present this year’s award.  As you would expect Stephen Fry was not shy of a word or two and put a fantastic and eloquent speech together not long before crowning this year’s winner Erin Martin with the honour of collecting this year’s trophy.

Waller said of her: “Erin’s designs encapsulate a joyous celebration of life. Her projects are full of her exuberant personality. She is never overawed by convention and original ideas bubble up everywhere which makes her schemes seem utterly fresh. But look closely and you can see that it is all put together with carefully calibrated discipline.”

American designer Erin Martin is acclaimed for her individualistic approach and known for her bold energetic designs and witty design philosophy. A very quick glance at the images in this year’s review book certainly demonstrates this through her beautiful interior photography. Also Erin and her team defiantly don’t shy away from the camera when it comes to their staff pictures. Andrew Martin review book vol 19’s staff photo shows them all wearing straitjackets posing for the photograph on a building site.  On her website you can find her interesting philosophy behind her interior design.

‘’ Martin. Balance of art, engineering, aesthetics & personality. Martin girls, Capture the rhythm & energy of the space. Creating lifestyle. A life surrounded by fundamentals of design. Experienced not learned. Formulas of thought. World journeys. Elements of design in their truest form: architecture symbolic of culture & motifs representative of time. One of a kind pieces. Designed and created from the ground up. Home. Consistent & classic, yet absolutely unique’’.

The Napa Valley – based designer was chosen as the winner by judges Jade Jagger and Kit Kemp. Previous winners include Kelly Hoppen, Kit Kemp and Nicholas Haslam.

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When you’re looking to create architecture and interiors content, you will usually need to include images.

In this process there are two main photography licensing types available to you:

• royalty free
• and licensed photos

Royalty free images (stock photographs) are usually very cheap or free with no restrictions on which individuals or businesses can use and share them for promotional purposes.

Licensed photos (commissioned from a photographer) can be a bit more expensive but have specific legal copyright conditions that protect them, and that means only the person who has paid for the photographs can use them.

Choosing between royalty free images and licensed photos for your promotional content is akin to choosing between a rented and tailored three piece suit for a wedding, as this analogy will outline:

A rented suit will be cheap, which is a clear positive, and yes, it will probably do the job and get you through the day, but there’s no guarantees regarding who else has worn the suit or what has been done with it in the past. The suit will already have been worn for countless weddings, and is unlikely to tick every box that you’re looking for in your dream three-piece. It’s not personal and unless you can find a suit of genuine quality it’s unlikely to help you stand out from the crowd, and worst case scenario, someone else at the wedding has gone to the exact same rental shop and is wearing the same suit as you.

A tailored suit on the other hand is a bit more expensive, but you have total control over measurements and materials and ultimately will only pay exactly what the suit is worth. A tailored suit is created specifically to your specifications and will suit you to a tee. You know this will be the only suit of its type in existence and don’t have to worry about someone else at the wedding clashing with you. There’s no chance of the suit having been worn at another, as you’re the only person who’s ever owned it.

A stock image is similar to a rented suit. It’s definitely more cost effective, but there are no guarantees of who else has or is currently using that specific image. An image could have been used on countless websites or promotional material in the past and you have no idea what kind of message it may have been used to portray. It may help convey a certain idea, but chances are it won’t express it completely as you would have ideally hoped for. You’re especially not going to stand out against competitors if there’s potential that they’ve been using the exact same image as you.

A commissioned licensed image however is like a tailored suit. More expensive? Sure, but only as expensive as you need it to be. You are able to tailor your photograph exactly to your specifications, with location, what’s included in the image and everything from the set-up of the image itself to the angle it is taken from which is entirely down to your personal preference. If there’s something you don’t like about the image you can alter it. You will be at ease in the knowledge that the image only goes as far out into the world as you want it to, and that none of your competitors will be able to use the same photograph for their promotional material, meaning the message it conveys is completely under your control.

The three main benefits of commissioning a photographer and getting licensed images are:

You have total control over the image’s creation and the rights surrounding it

By far the most important factor for any promotional content is how it is shared and by who. With managed rights images you have total control over how and by whom your image is used promotion-ally for as long as the licence covers the photograph.

The image is totally unique and tailored to you and your collaborators

With commissioned images you’re the last word on how the photograph looks; which products or landscapes are pictured, the lighting, styles, angles and any other factors you feel necessary to show off your ideas. The photographer will take your thoughts and make them a reality.

You only pay for what you need

As with any tailored service you will know exactly what you’re paying for when hiring a photographer to create a licensed image. You will pay for the professional’s time, expertise, and overheads just like any business.

To sum up royalty free photos will save you money, but there’s a risk that they’ll affect your reputation later down the line as you have no control over who else can use them. With managed rights images taken by a professional photographer, you have control over the image, the rights around its promotion and a more easily managed reputation going forward. Further to this you will only ever pay for what you need.

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There’s lots to think about. Equipment, access, compositions, where the natural light will fall at certain times of the day or evening, the mood of the building, and the aims of the client. Even the flow of the shoot and what order to photograph the rooms in is important to figure out early on. We do this in order to be efficient and ensure all the boxes are ticked for you on the day.

In this guide we’ll look at how we can help you before the day of the shoot, and the little things you can do to help us to maximise the quality of the images we capture.

1. Create a concise brief

A brief is the heart of any creative project. While creative fields such as photography need room to breathe, there also needs to be some constraints to add focus to the work.

Creating a clear and simple brief is the best way to detail what you are looking for from your photographers. The details to list on the brief include:

– The number of shots required. Include overviews, vignettes and the details of each room
– Furniture or other important areas that need special focus
– The style of photographs you’re looking for. Natural bright, natural mood, twilight or evening? If you are unsure your photographer can help guide you before the day of shoot.
-Do you require the lights on or off?
– What are the images being used for? Where they going? A print magazine or a website?

As part of the ZAC and ZAC workflow you will be required to complete a small questionnaire which will outline all of the main factors to help the shoot run smoothly as possible.

2. Work with a stylist in advance

If you’re styling the rooms for your shoot, it always pays to talk to the stylist well in advance. Aim to have them set up the property the day before the shoot, or at least a few hours before the photography session is due to start.

This is key because it allows for more time on the day to take shots, without delays while props or furniture is rearranged.

Stylists can bring an array of props to stylise the property before shooting. These will likely include books, magazines, fresh flowers, food, plants, accessories and art works. All the props will be carefully thought out to make sure the style and colour palette best represent the space they are being selected for.  Alternatively to keep things simple stylists can work with accessories within the scene, this is dependent on the amount of accessories they have to work from making sure that they best compliment the photograph. The designer will always liaise with the stylist before the shoot day to make sure they are both on the same page to achieve the best possible results.

3. Uninterrupted access

An interiors shoot can be a fun and exciting event. A typical shoot may consist of the photographer, photographer’s assistant, the designer, stylist, and any models if desired. While some clients like to be there and be involved, it is essential that the space to be photograph is free of people on the day of shoot. Due to our final photographs being created by multiple photographs it is vital the scene remains undisturbed so that each exposure can layer perfectly on top of one another in the post editing stage.

To conclude…

Prepare for your shoot with the tips we have detailed above, and everything will run smoothly. By following a well-structured and thought out shoot day, you give yourself the best chance of capturing photographs that will truly stand out and fit your brief.

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Instead of photographing an overview shot of the entire showroom, we focus on specific design vignettes for a more aesthetically pleasing set of interior photographs that work well both together as a set, and individually on their own. If we were to capture the showroom as a whole we would be mixing design styles, revealing too much of the showroom’s outer shell which in turn would detract from the design sets, leaving little to the imagination.

Below is an example of our favourite design showroom compositions…..

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