B+H Global Photography Standards Guidelines for general, project, portrait and studio photography.
Americas Asia Middle East www.bharchitects.com
B+H Global Photography Standards Guidelines for general, project, portrait and studio photography. These guidelines do not pertain to renderings or videography.
Contents Overview
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Photography Guidelines
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Projects
Architecture
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Planning & Landscape
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Interior Design
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CHIL Guidelines
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People & Portraits
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Studios
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Outlining the Photography Process for Projects
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Process Steps
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Process Timeline
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Timing
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Attribution 39 Creative Brief for Projects Resources
Project Photography Checklists
42 45
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Photography Contacts
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Glossary
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Forms
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Overview Photographs of our projects, people and studios are a powerful reflection of the B+H brand, particularly in a visually-driven industry such as architecture and design. As such, there should be a balance between achieving a common look and tone to all photography across all of our studios, with conveying the unique details and vision of our various projects, and showcasing the unique personalities and stories of our people and studios.
These B+H Global Photography Standards should be applied when coordinating either original photography or sourcing stock photography, and they provide an overview of the guidelines and coordination process for projects (architecture, planning & landscape, interior design and CHIL), people, portraits and photographs of our studios and working environment. All photography firm-wide should be coordinated through or in consultation with a member of the marketing & business development team. Key contacts are listed on page 50 under Photography Contacts.
1. MaRS Centre Phase 2, Toronto, Canada 2. Design Review, Toronto Studio 3 & 4. University of Windsor — Ed Lumley Centre for Engineering Innovation, Windsor, Canada 5. Fun shot (Stocksy.com) 6. DoubleTree by Hilton Regina and Wild Sage Kitchen & Bar, Regina, Canada
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Photography Guidelines
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Project Photography Guidelines
Photography Types
Full Feature
Guidelines
Full feature images are the "money shot" or "hero image" and typically appear first on the website or in marketing materials. They show the subject in a flattering way and convey the design leader or architect's vision for the entire project. Non-conventional shots that capture the profile of a project are better than head-on shoots that fail to capture how unique a feature might look from a different perspective. Photography does not have to simulate how we see spaces in every day life.
Spatial
Spatial images give full feature images context by showing different areas of a project. Using different viewpoints and interesting angles, they bring the project to life and add a layer of detail that full feature images do not always capture. Wherever appropriate, people should activate spaces — there either have to be enough people to demonstrate how the space is used, or they have to bring an aesthetic benefit to the photograph. One faded ghost in the background does not add value to the image. When people activate spaces, the photography should be shot with and without people to maximize the flexibility.
Detail
Detail images are close-ups of unique details, material choices (like fabrics, tiles or wood) and other interesting parts of a project that may not be visible in full feature or spatial images. Detail images work best when used with full feature and/or spatial images to show their context, but they can also work well on their own as a large background image. Labeling these types of images with their correct project name and location is especially important to help others identify the project.
Architecture Tips
Planning & Landscape Tips
Interior Design Tips
• Creative shots can activate normally "flat" spaces (gymnasium, fields, offices)
• Focus on micro details like unique landscaping or planned areas
• Small knickknacks make interiors look cluttered — large statement items can make a space look finished and used, instead of disorganised and empty
• Staged photos for activity spaces make them look more exciting
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Note: Due to the nature of these projects, not all will have project photography.
Project Photography Guidelines
Examples Architecture
Planning & Landscape
Interior Design
Full Feature Examples
1 1. Abilities Centre, Whitby, Canada
2 2. SmartCity Kochi, Kochi, India
3 3. Stratus Bar & Restaurant, Toronto, Canada
Spatial Examples
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5 5. SmartCity Kochi, Kochi, India
4. University of Windsor — Ed Lumley Centre for Engineering Innovation, Windsor, Canada
6 6. DoubleTree by Hilton Regina and Wild Sage Kitchen & Bar, Regina, Canada
Detail Examples
7 7. University of British Columbia – AMS Student Nest, British Columbia, Canada
8 8. SmartCity Kochi, Kochi, India
9 9. Secret Location, Vancouver, British Columbia
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CHIL Guidelines Photography Guidelines
General Guidelines Use people very judiciously. Shots should highlight the rich and layered interiors of a guest room or a lobby space; people are not required and can often get in the way. People can be used to animate a reception desk shot or table setting feature as seen in examples on page 13. In large and voluminous spaces, people can give life and scale to a photograph, often this is the case with architectural shots, but not interiors.
Guest Rooms Working within a hotel adds to the complexity of a shoot – blocking off rooms, finding the best time of day and having the hotel available and on board with our shoot. Ensure all hotel collateral such as alarm clocks, dine-in menus and phones are removed from shots.
Accessorizing CHIL shoots usually involve dedication of one designer for the duration of the shoot. They coordinate the set-up, borrow or buy product and stage the shoot - even bringing in product from their homes or buying flowers. To maximize flexibility in our photography usage, the same shot should be taken with and without accessories. Little details like a breakfast spread or champagne bottle can change the mood and tone of an image. See examples below.
Above: No accessories on bed.
Above: Breakfast spread on bed.
Right: The Fairmont Waterfront Hotel, Vancouver, Canada
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Above: Champagne spread on bed.
CHIL Guidelines
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CHIL Guidelines Photography Guidelines
Photography Types
Full Feature
Guidelines
Full feature images are the "money shot" or "hero image" and typically appear first on the website project page or in marketing materials. They show the space in a flattering way and convey the design leader's vision for the entire project. Non-conventional shots that capture the profile of a space are better than head-on shoots that fail to capture how unique a feature might look from a different perspective.
Spatial
Detail
Spatial images give full feature images context by showing different areas of a project. Using different viewpoints and interesting angles, they bring the space to life and add a layer of detail that full feature images do not always capture.
Detail images are close-ups of unique details, material choices (like fabrics, tiles or wood) and other interesting parts of a project that may not be visible in full feature or spatial images. Detail images work best when used with full feature and/or spatial images to show their context, but they can also work well on their own as a large background image. Labeling these types of images with their correct project name and location is especially important to help others identify the project.
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Photography CHIL Guidelines
Examples Full Feature Examples
1 1. Stratus Bar & Restaurant, Toronto, Canada
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3 3. DoubleTree by Hilton Regina and Wild Sage Kitchen & Bar, Regina, Canada
2. Shangri-La, Toronto, Canada
Spatial Examples
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5 5. Stratus Bar & Restaurant, Toronto, Canada
4. DoubleTree by Hilton Regina and Wild Sage Kitchen & Bar, Regina, Canada
6 6. Shangri-La, Toronto, Canada
Detail Examples
7 7. DoubleTree by Hilton Regina and Wild Sage Kitchen & Bar, Regina, Canada
8 8. Secret Location, Vancouver, British Columbia
9 9. Fairmont Palliser, Calgary, Canada
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People & Portraits
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People & Portraits
We have an opportunity to showcase our unique and creative people through the photography we feature on our website and other marketing materials we produce. Achieving a consistent tone and look for our people and portrait photography is important to ensure we are seen as a professional and cohesive team.
What to wear Instead of dressing up in formal attire, employees are encouraged to wear what they normally wear to work – with the exception of strong patterns, bold colours and shiny fabrics, which are hard to photograph and distract from the subject. Additionally, as styles and trends change over the years, choose attire that is timeless. Follow the rules Always remember to follow local laws and restrictions when photographing people. Refer to the sample consent forms and notice of photography in the back of this document and contact General Counsel for any other questions. Everyone wants to look their best It is common courtesy to give people a few days or up to a week of notice in advance of being photographed.
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People & Portraits
Photography Types
Full Profile
Guidelines
Full profile images are distinctive and defining of our people and culture. They show our people smiling, friendly, and personable through a “be who you are” tone. They are cropped at the torso instead of the shoulders and are always taken in full color with natural lighting.
Close-up
Close-up images focus on bringing out an individual’s personality through a smile or thoughtful pose. Unlike working shots which are candid, close-up images are posed compositions but the goal is to make them look genuine and natural. They are never used as a main image on the website or other marketing materials, however they can complement a full profile shot to add more personality. Post production is especially important for close-up images as the details and lighting really make these photos stand out from the rest.
Fun
Fun shots showcase our personality and add a layer of authenticity to our photography. We are dynamic and interesting and our photos should reflect that. These photos should be used sparingly to provide maximum impact and are only to be used in combination with full profile, close-up and/or working shots – never alone.
Working
Working images show our people working in their natural environments. They are candid and relaxed – never staged. The environment should be authentic and can be activated either with people in the background blurred, or by having multiple people working together. Remember to remove any confidential work before the shoot. Refer to studio guidelines for more details on photography types.
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People & Portraits
Full Profile Full profile images are distinctive and defining of our people and culture. They show our people smiling, friendly, and personable through a “be who you are” tone. They are cropped at the torso instead of the shoulders and are always taken in full color with natural lighting.
All of these images have the same background; however we should create variety in our portrait photography by selecting different and interesting backgrounds through our studio environment – and when needed, professional coloured backdrops. The background should be out of focus and the subject should be in focus.
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People & Portraits
Technical Guidelines Composition
Subject will be standing upright (or possibly leaning on desk or table) positioned with most of their body weight on one leg (contrapposto). Subject will look directly into the camera and maintain a three quarters position facing towards the main light source. Three distinct planes will be created between the photographer, subject and background, with roughly equal distance between each. Photographer will frame the shot, with bottom of frame just below the subject's waist and more than double the negative space above the subjects head (headspace). Lighting Details
Each plane (subject and background) is lit separately with off-camera flash. • • • • •
2 x ProFoto/AlienBee’s/Speedotron heads 1 x Medium Softbox, grid (main light source) 1 x Medium/Large umbrella (background light source) Main light, angled for 1:2 lighting ratio Background light, positioned for 100% background fill
Exposure & Lenses
Exposure: 1/125 sec. (or sync speed) Aperture: 2.8mm or similar Lens: Canon 85mm, Canon 70-200mm L
1 2 Legend
3 4
1
Medium/Large Umbrella
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Subject
3
Medium Softbox
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Camera
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People & Portraits
Close-up Close-up images focus on bringing out an individual’s personality through a smile or thoughtful pose. Unlike working shots which are candid, close-up images are posed compositions but the goal is to make them look genuine and natural. They are never used as a main image on the website or other marketing materials, however they can complement a full profile shot to add more personality.
Above: Post Production Post production is especially important for close-up images as the details and lighting really make these photos stand out from the rest. Certain filters can be applied to achieve consistent tone and lighting. To ensure consistency, only filters found in the photography resources folder are to be used. For any questions, refer your regional photography contact, found on page 50.
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People & Portraits
Technical Guidelines Composition
Subject will be sitting or engaged in a particular activity, but captured at a moment of being aware of the camera’s presence. Subject will be looking into the camera. Photographer will shoot at a close distance to the subject and provide art direction. Shots will be framed very tight, with background elements pushed out of focus in order to delineate the subject from the environment. Consistent lighting will allow the subject and photographer to shoot and experiment anywhere in the room/environment. Lighting Details
All over/diffused lighting. • • •
A 10x20 foot grid cloth will be suspended from one end of the room. (rented from William Whites International, film supply) Setup to simulate window light, with 3x ProFoto/AlienBee’s/Speedotron heads shooting through, spaced roughly 2-3 metres apart behind Grid Cloth (no light modifier on heads) Same light output on each, strobe head
Exposure & Lenses
Exposure: 1/125 sec. (or sync speed) Aperture: 2.8mm or similar (for narrow depth of field) Lens: Canon 85mm, Canon 70-200mm L, or Canon 24-70mm
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1 Legend
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4
1
ProFoto/AlienBee's/ Speedotron heads
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Subject
3
Camera
4
10x20 grid cloth
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People & Portraits
Fun Fun shots showcase our fun personality and add a layer of authenticity to our photography. We are dynamic and interesting and our photos should reflect that. These photos should be used sparingly to provide maximum impact and are only to be used in combination with full profile, close-up and/or working shots, never alone.
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People & Portraits
Technical Guidelines Composition
Subject(s) will be photographed in a variety of playful ways in a studio setup constructed in the office. The background will be a coloured background or coloured wall that is available in the office. The subject will be positioned close the background, and a flag (or black card) will be used to block and spill light from the main light source (medium softbox). A reflector will be used as required to even out the lighting ratio slightly. Lighting Style Hi-key.
Shots can be framed in a variety of looser and tighter compositions. Lighting Details
Stationary backdrop, studio setup with one light. • • • • •
1x ProFoto/AlienBee’s/Speedotron heads 1x Medium Softbox, grid (main light source) 1x bounce card, reflector Main light, angled 3/4 down and 3/4 in front of subject’s face Background unilluminated
Exposure & Lenses
Exposure: 1/125 sec. (or sync speed) Aperture: 2.8mm or similar (flexible) Lens: Canon 85mm, Canon 70-200mm L
1 Legend
3 2 4 5
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1
Backdrop
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Subject(s)
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Flag
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Bounce card/reflector
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Medium Softbox
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Main Light
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Camera
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People & Portraits
Working Working images show our people working in their natural environments. They are candid and relaxed and never staged. The environment should be authentic and can be activated either with people in the background blurred, or by having multiple people working together. Remember to remove any confidential work before the shoot. Refer to studio guidelines for more details on staging for this photography.
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People & Portraits
Technical Guidelines Composition
Combination of all other styles. Lighting Details
Combination of all other styles. Exposure & Lenses
Exposure: 1/125 sec (or sync speed) Aperture: 2.8mm or similar (for narrow Depth of Field) Lens: Canon 24-70mm
Additional Working Examples
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People & Portraits
No
Above: The image looks posed and the tone is negative. We want to show our people as creative professionals with an optimistic tone. Below: Our people should be the focus in our people & portrait photography. Avoid using silhouettes that do not showcase personality or natural environments.
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Above: One person has their back to the presenter, which is not an accurate representation of our collaborative environment. Pay attention to small composition details that could be missed. Below: The tone of the image looks negative and the people look like they are fighting. Posed shots may sometimes be interpreted a different way, so get another opinion if you are unsure.
People & Portraits
No
Above: The above image may be a good concept in theory, but there is no context for the people, so the subject matter gets lost in the composition.
Above: The image looks constructed and is cropped poorly. Although there are smiles, they look contrived and clichĂŠ.
Below: The subject looks confused and sad, not bold and professional, which is the tone we are aiming for.
Below: The image is grayscale (not colour) and cropped too closely to the subject's face. There is not enough headspace around the image.
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Studios
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Studio Guidelines
Photography Types
Full Feature
Guidelines
Full feature photographs are distinctive and defining of our studio environment. They should be activated by our people (be sure to use consent forms and waivers where appropriate) and lit with even and natural lighting. Non-conventional shots that capture the profile of a space are better than head-on shots that fail to capture how unique a feature might look from a different perspective. Photography does not have to simulate how we see spaces in every day life.
Spatial
Spatial images give full feature images context by showing different areas of a project. Using different viewpoints and interesting angles, they bring the space to life and add a layer of detail that full features images do not always capture. Wherever possible, people should activate spaces — there either hves to be enough people to demonstrate how the space is used, or they have to bring an aesthetic benefit to the photograph. One faded ghost in the background does not add value to the image.
Detail images are used to support spatial images and give them context.
Detail They help tell the full story and add interest to layouts. They should be used in combination with full feature and/or spatial images to tell a story. These images can be details of artwork in the studio, interior design or architecture details of the building or even creative objects from employee's work spaces.
Remember to remove any confidential work or drawings before photos are taken.
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Studio Guidelines
Example Images
1 1. B+H Singapore Studio, Red Dot Traffic Building
2 2. B+H Vancouver Studio
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Studio Guidelines
No
Above: The photo has an interesting composition, however it is not lit in a flattering way. It looks like it is night time, which doesn't convey a sense of efficiency in our studios. Below: The photo is completely out of focus. While this treatment may work for certain background images with a colour overlay, original photographs should be produced in the most versatile way possible.
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Above: This photo does not work as a studio shot because the focus is not on the studio. Below: Be cautious with subject matter when composing original photography or sourcing stock imagery. The wine bottle may not be noticeable at first, however, if used in the certain situations, can convey the wrong image.
Studio Guidelines
No
Always remember to look at images with a fresh set of eyes. Content and subject matter is also subjective, so get a second opinion if you are unsure. Remember, the purpose is to make sure B+H is represented in the best way possible through our photography.
Above: The space looks empty and cold and does not look like a collaborative environment. Below: The office looks sterile (no personality and hospital-like lighting) and the employee looks sad and lost.
Above: The room looks sterile and there is no specific focal point of the photograph. The image looks staged and looks like a stock photo, which is what we do not want our photos to look like. Below: If our studio has an interesting façade or entrance, it would be a “Yes” photo – like the Red Dot Traffic Building on page 25. This entrance looks dated, dirty and unappealing, so it would not represent B+H in the best way.
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Outlining the Photography Process for Projects
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Photography Process for Projects For Interior photography, exterior architectural and landscape photography.
The following summary is meant to outline the general photography process for interior and exterior photography. For a detailed checklist, please refer to pages 46-49. Please refer to the Process Timeline and Responsibility Chart on page 38. Step 1 – Kick-off at Project Completion a. The marketing team must be notified of projects that need to be photographed as soon as they are registered as complete, in order to begin planning for photography. b.
Contractual details that determine what we can photograph should be cleared up-front with our legal counsel.
Step 2 – Consulting with Key Project Team Members a.
The marketing team will consult with the project leads and key designers to identify the requirements of the photography assignment. This is also an opportunity for Marketing to further understand the key design elements that will determine the appropriate design narrative for promotional purposes.
b. Project manager (with input from design principal) to fill out the Creative Brief form. Step 3 – Selecting a Photographer and Determining Cost The marketing team will: a.
Consult with the Project manager and lead designer prior to selecting a preferred photographer (photographers may be chosen from a database of preferred contacts—accessible by Marketing only—or through a portfolio review process.)
b.
Determine the overall project budget with the project manager before selecting the preferred photographer.
c. Consider cost sharing possibilities with the client/tenant, consultant or industry supplier.
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Photography Process for Projects Step 4 – Planning for the Photography Session The marketing team will: a. b.
Arrange photo shoot (time & date) with photographer. Consult with the Project manager and Lead designer to determine the key shots and visual narrative necessary for the photography session.
Waivers and forms available in the resources section
c. Set up and conduct on-location scouting session with the photographer and lead designer/architect. d. Iron out any security clearance and site access details, including any necessary waiver and consent forms, with the tenant/client prior to the scheduled photography session. e.
Determine if any extras or props are needed for staged shots prior to the shoot, and plan as needed.
Step 5 – The Photo Shoot One member of the marketing team and at least one key project member must be present the day of the shoot to guide the photographer and liaise with the tenant/ client. Step 6 – Post-Production a.
Post-shoot, the RAW photographs are reviewed with the Marketing team as well as the Project manager/Lead designer to determine if any specific edits are required (e.g. sign or fixture removal, colour edits, etc.) but this has to be done within budget.
b.
The photographer will be responsible for post-production edits.
Step 7 – Completion and Promotion of Project Photography a.
The Marketing team will be responsible for the filing of completed project photos for ongoing promotional purposes.
b.
A photo naming convention will be put in place to allow for easier access to and storage of completed photographs.
Important Note: Photo accreditation and project attribution outlines on page 33. 37
Photography Process for Projects For Interior photography, exterior architectural and landscape photography.
Process Timeline Planning Stage
Photo Shoot
Post-Production & Promotion
1 - 2 weeks
1 week
1 - 2 weeks
= 3 to 5 weeks
1 week
1 week
1 - 2 weeks
= 2 to 4 weeks
Architecture
2 - 3 weeks
1 week
1 - 2 weeks
= 3 to 6 weeks
Planing & Landscape
2 - 3 weeks
1-2 weeks
1 - 2 weeks
= 4 to 7 weeks
Key Milestones Project-specific timing*
Interior Design Architecture (Exterior only)
(Interior & exterior)
Timing
Process Step
(See previous two pages)
1
2
3
4
5
6
7
Responsibility
Legend
Marketing Team Partner-in-Charge (PIC), Project manager, and/or Lead designer Photographer
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*Timing starts at process step two because process step one can vary significantly from project to project and an accurate time frame cannot be provided.
Photography Process for Projects
Timing For a typical interior design shoot, it takes 3 - 5 weeks from steps two to seven. For a typical exterior architecture shoot, it takes 2 - 4 weeks from steps two to seven. For a typical exterior and interior architecture shoot, it takes 3 - 6 weeks from steps two to seven. For a typical planning & landscape shoot, it takes 4 - 7 weeks from steps two to seven. Timing may vary from project to project.
Attribution
Photography Checklist available in the resources section.
If we show an image (rendering, sketch or completed photograph) of past work done by a B+H employee while at a previous firm, then we must attribute to his/ her previous experience at the specified firm. An image inside a B+H document will be seen as B+H work, unless we specify otherwise. Examples: Project name completed by team members while at insert other firm name. OR Previous experience of insert B+H employee while at insert other firm. Attribution rules: • Project references/descriptions need to say which firms worked on the project • ALL photos need to reference other design firms involved, and (if appropriate) the photographer Examples: If the photography is featured in a publication or editorial piece like the Design Excellence book, it would be appropriate to credit the photographer to provide them additional exposure. See image to the right.
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Creative Brief
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Project Creative Brief See separate checklists for interior and exterior photography.
Project Summary Client Project Name Project Size Project Address Completion Date Occupied
Yes
No
Photography Details If there was one photograph of the project featured on the cover of a magazine, what would it be?
List the areas that need to be photographed and provide scouting shots Eg. Exterior faรงade, atrium, reception, pantry, staircase, lobby, wayfinding
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How many final shots will the project require? (Break down shots below) Total final shots
Where will the photography take place? Inside
Outside
Both
Describe the best way to activate the space. If the space is being activated by people, how many people will you need?
Are there any environmental factors to take into consideration? Landscaping in the summer, snow in the winter, seasonal scheme of project, etc.
What is the tone of project?
When is the most suitable time of day? Please note any details on lighting below.
Supporting notes Please list any other specifications that will help the photographer deliver the expected results.
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Resources
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Interior Design Checklist
Planning the Photo Shoot oo Can a floor plan be made available to plan out the specific shots with the Project lead? oo Have you scheduled a scouting shoot on location and determined the key areas to be photographed? oo Will there be any construction or installations activities scheduled during the shoot date? If yes, can you delay the shoot until construction is complete? oo Are the owner/occupants expecting the photographer? Interior photography can require a substantial amount of prep work both in styling furniture & lighting the space. oo Do the tenants understand the production & duration of the assignment? oo Can a memo be sent to employees/tenants informing them of the upcoming photo shoot? Interior Access oo Is security clearance required? If so what information do the photographer & crew need to supply? The security company should be notified of the photography shoot. Who is the site’s representative to contact with any questions? What about after hours or weekends? Name: Email: Office #: Mobile #:
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Interior Design Checklist
Lighting & Electrical oo Will a representative who can adjust the lighting be on site? oo Is approval required to adjust the light settings? If so then by whom? oo When does any exterior and/or landscape lighting come on? Staging & Props oo Will additional props be supplied for the photo shoot? (e.g. flowers, books, sculptures, artwork) oo Do you require working personnel to be included in any shots? If so, then have you determined how many, discussed with the client ahead of time and signed the appropriate waiver forms? oo Are there any visible signage or fixtures that need to be removed, either during the shoot or during post-production? oo Can office desks be stylized without permission? oo Can furniture be rearranged for photographic considerations, with the understanding everything will be returned to its location? oo Will a representative be available to turn on monitors, television displays, and AV equipment for the photography? If not, does the photographer have permission?
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Architectural & Landscape Checklist
Planning the Photo Shoot oo Can a site plan be made available to plan out the specific shots with the Project lead? oo Have you scheduled a scouting shoot on location and determined the key areas to be photographed? oo Will there be any construction or installation activities scheduled during the shoot date? If yes, can you delay the shoot until construction is complete? oo Are there any dumpsters/construction equipment visible that need to be scheduled for movement? oo Are there any environmental considerations (e.g. sunlight, time of day, weather conditions) that you should take into account? oo Is there any visible signage or other items that need to be removed, either during the shoot or during post-production? oo Are the client and any occupants expecting the photographer & team? oo Does the client/occupant understand the production and duration of the assignment? oo Can a memo be sent to employees/tenants informing them of the upcoming photo shoot? Location Access oo Is security clearance required? If so what information do the photographer and crew need to supply? The security company should be notified of the photography shoot. Who is the site’s representative to contact, after hours or weekends, with any questions? Name: Email: Office #: Mobile #: 48
Architectural & Landscape Checklist
Planning & Landscape oo Is the landscaping complete? At what stage is it? Mature, freshly laid sod, new trees without leaves? oo Will additional props be supplied for the photo shot? (e.g. plants, sod) oo If you require people in the shot, have you determined how many, and signed the appropriate waiver forms? oo Can the parking be restricted in front of the building? oo Will we need to gain access to the roof of an adjacent building?
Lighting & Electrical oo Will a representative who can adjust the lighting be on site? oo Is approval required to adjust the light settings? If so then by whom? oo When does the exterior lighting & landscape lighting come on?
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Photography Contacts & Glossary Glossary
Photography Contacts If you would like to initiate a project photography request, then please contact the following email distribution group: photography@bharchitects.com which includes the following members:
Jennifer Futol Nuhad Haffar-Orsini Mira Shenker Shannan Koh Sissi Chu Shayne Heathfield Shirley Li Dan Seljak
Your region-specific photography contacts are:
Nuhad Haffar-Orsini – North America & MENA Shannan Koh – Singapore & Ho Chi Minh City Sissi Chu – China
Glossary Close-up shot A close-up shot is one of the four types of people and portrait photography. See page 20 for examples. Detail shot A detail shot is one of the three types of studio and project photography. See page 9 for project examples, page 13 for CHIL examples and page 24 for studio examples. Full feature shot A full feature shot is a type of photograph applicable to project and studio photography. See page 9 for project examples, page 13 for CHIL examples and page 24 for studio examples.
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Glossary
Full profile shot A full profile shot is a type of photograph applicable to people and portrait photography. See page 18 for examples. Out of focus An image that is not in focus or sharp; a blurry image. This can also apply to specific parts of an image, for instanced a blurred background and in focus foreground. Perspective Perspective in photography can be defined as the sense of depth or spatial relationships between objects in the photo, along with their dimensions with respect to the viewpoint (camera lens or the viewer). Fun shot A Fun shot is a type of photograph applicable to people and portrait photography. See page 22 for examples. Scouting shoot A scouting shoot is an informal visit to the project site (by the photography coordinator and project lead) to take initial pictures which help the Design leader determine the best locations and angles for the photographer to focus on. This makes the day of the shoot efficient and ensures the Design leader has input on the creative direction for the space they have designed. Spatial images A spatial shot is a type of photograph applicable to project and studio photography. See page 9 for project examples, page 13 for CHIL examples and page 24 for studio examples. Viewpoint A viewpoint in photography is the position from which the photographer takes a photograph. Consider different viewpoints to create different scenes and add interest to the composition. Always remember to keep things simple and let the subject matter shine through. Working shot A working shot is a type of photograph applicable to people and portrait photography. See page 24 for examples.
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Print and paste at all main entrances of shoot location.
Notice of Photography Photography and/or videography is currently taking place. Images, video and audio may be broadcast, reproduced and/or made available in print publications, online or on mobile devices, and may form part of the creative content intended for marketing and business development materials. By entering the premises, you are consenting to the use of your appearance, image and voice in the production and in any promotion or use of the production in any media throughout the world. Please contact Marketing if you have any questions or wish to revoke consent. marketing@bharchitects.com
Model Release Form I, the undersigned, hereby irrevocably consent to and authorize the use by B+H Architects, its studios and employees, of my image, voice and/or likeness. B+H shall have the right to photograph, publish, adapt, exhibit, perform, reproduce, edit, distribute, display or otherwise use my image, voice and/or likeness in connection with any product or service in all markets, media or technology now known or hereafter developed in B+H’s marketing and communications or services, as long as there is no intent to use the image, voice and/or likeness in a disparaging manner. I waive any compensation or recourse against the use of these images.
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