Requirements for Interior / Exterior Photography
In order to help my client adjust and prepare for an interiors photography session, I will try to outline my working requirements and explain some of the techniques and processes I use in executing the photographs. Through this explanation, I hope to answer, in advance, questions which might come up during a shooting session. Client's understanding of my problems and my choice of solution will help the photography session go smoothly and produce superior results.

Pre-Planning
In advance of a scheduled shooting session it is my custom, if possible, to walk through the job with the client. At this time we can evaluate the desires of the client as well as note any requirements I might have to better prepare the areas for photography. Specifically, such items as decorative foliage, more desirable art, table settings, floral accents, repairs, etc., will be reviewed giving the necessary lead time for the client to provide them for the shooting day. This preliminary visit also allows me to consider the lighting problems I will encounter on the shoot and predict at what hour each shot should take place. If an advance visit is impossible, the client and I should discuss the job in detail. I will ask many questions about the job covering areas such as style, light quality and type, window direction and size and the general mood of each area to be photographed. Whether or not an area will be photographed during the day or night is of prime concern to me. If I cannot do a preliminary walk through, my client must evaluate each space with these questions in mind.

Whether the job to be photographed is a private dwelling or a public space, the photography day is basically an "invasion of privacy" for the owner. My experience has trained me to be extremely careful on the job. I carry insurance which covers accidental damage to an owner's property but have never yet had to make a claim. More important, however, is the forewarning that this kind of photography is very time consuming. It takes between 3-4 hours to set up and expose each shot. In planning the logistics of the session, the owner should be consulted so that his/her activities at the location will be coordinated with ours and we won't be in each other's way. In the case of public spaces, either we must adjust to times of heavy use or the owner may adjust his/her schedule to ours. Naturally, it is easiest to work unhindered with no traffic in the area. Often, this requires shooting schedules that take place during hours establishments are closed.

In public spaces such as restaurants, stores, offices and the like, there should be liaison between me and the owner to facilitate control of lighting, movement of furniture and traffic control. Someone with the authority and knowledge to handle these elements should be present at the session. Often the designer or someone from his/her staff can cover this function. Occasionally, when no one from the design staff can be present at the shoot, I request a representative of the owner to help me with these arrangements

The Following List Represents Some Of My Concerns During A Shoot:
1. Security clearance should be arranged for during and after business hours.
2. Air conditioning and/or ventilation systems should be in operation during the photo session. Such systems should be able to be turned off during film exposures to decrease the chance of camera vibration.
3. All areas to be photographed should be cleaned and dusted prior to photography.
4. All lighting fixtures should be properly functioning. Fluorescent light units should contain the same tube type.
5. Ceiling tiles should be in place with no broken or damaged tiles.
6. A ladder should be available.
7. Someone with knowledge of the electrical control system should be present during the shoot.
8. Bathrooms should be accessible.

The Shooting Session
A session normally begins with a brief walk-through during which the designer and I check each area we plan to photograph. Often this is the time final decisions are made about floral arrangements, plant placement, and any last minute changes in accessories. While we do this, my assistants will be unpacking the camera equipment and lights and storing the many cases in an area which won't be photographed. Once I have started to work on a shot, any diversion can only be detrimental and delay the completion of the photography. There is a period of 1-2 hours during which I must concentrate on many complex technical problems. The camera is quite unforgiving and will not deliver the expected results unless position, lighting, focus, shadows and duration of exposure are all carefully controlled. I expect the understanding and patience of my client at this crucial point until I am able to show the first Polaroid test.

The availability of test Polaroid's and digital capture has brought this kind of photography to new heights of excellence. Both the client and I can review the tests and make the fine adjustments which slowly perfect the shot. But, in the case of Polaroid, there are limitations which I must mention. It is not an exact duplicate of what will eventually appear on film. It indicates composition, but is unable to render subtle tones of light and dark. The ability to use a Polaroid as a tool comes with time and experience. I don't expect my client to be this technically adept. I urge him/her to refer to Polaroid's for positioning only.

As I progress toward finalization of a shot, I go through a number of tests and arrive at a lighting balance and position ready to make the actual exposure. The exposure process may take up to thirty minutes due to the long exposure times and number of exposures. I "bracket" the exposures to ensure a choice of density which will yield the best publishable image. It is possible for my assistant to make the exposures while my client and I prepare for the next shot, but frequently the layout of the design and traffic patterns through the job prevent this. Often I must insist on absolute quiet with no traffic whatsoever during the exposure. On certain floors, the slightest tremor will ruin the result. With public spaces in use during the photography session, owner cooperation must be sought. Areas through which traffic normally flows must be blocked and controlled to allow time for each exposure. I can break from time to time, allow people to pass but must be afforded reasonable periods to shoot.