Asking Better Questions Leads To Better Outcomes

The HGTV effect.

Architecture is a slow craft that takes years to master. Creating something as complex as a building involves a tremendous amount of expertise. It is common for even the simplest of today’s buildings to be touched by hundreds of hands in the process of designing and building it. It is also a concept that’s very difficult to grasp for neophytes. Somehow, it is very common to find people who think they have a good understanding of building science and the art of designing buildings even if their experience stops at being a mere building user.

Let’s call it the HGTV effect, which makes designing building, house flipping and home renos look easy because it is scripted for TV and this mass-consumption content is designed to make complex issues appear effortless. We all know that the reality is vastly different. So, what to do when a client shows up and they think they know everything and can “do it themselves”?

 

Empathy and listening skills.

This is where empathy and listening skills come in. The same way you wouldn’t trust a doctor who would prescribe a treatment before a proper diagnosis, your duty as a designer is to diagnose your clients from the start to ensure that your work with the right people and that your relationships are being managed properly.

A proper diagnosis starts with asking the right kind of questions and then listening. Intently. This is where the magic happens, because all of a sudden, your clients are given the space to open up and say what’s truly on their mind. You can really get gold from doing this and it’s a skill that just about anyone can acquire with enough deliberate practice. Asking great questions early and often will also contribute to positioning you as the expert in the relationship as you are purposely taking the reigns of the relationship. Remember, this is what clients are paying you big money for, to lead the engagement and guide them gently but firmly in the right direction.

Don’t tell them what to do.

We live in a culture of telling, which makes this kind of more reflective practice at times difficult because our instincts push us to talk more than we listen. Telling people assumes that the other person does not know what you’re talking about and can be condescending, which in turns impedes the building of trust-based relationships.

A ready-made method for better relationships.

Ed Schein, in his book Humble Inquiry teaches us how to practice such a deliberate and structured form of listening. In it, he explains in great detail and with very telling examples how humble inquiry works. It requires being in a state of mind of non-judgmental curiosity, where the questions we ask are genuinely and openly giving the interlocutor permission to speak freely, without trying to lead them in a particular direction.

It also requires the willingness and ability to put oneself in a temporary vulnerable position of humility, described by schein as “here and now humility” which demonstrates that we are willing to put ourselves in a position of dependence with regards to the other person, which builds trust and enables them to open up more. As we are all more or less dependent on other people, there are many situations in life where this skill can come in handy.

For people at the top of any kind of hierarchy, it is even more critical to learn how to master those skills, as people in position of power tend to be by default deferred to, making it more difficult for subordinates to bring up difficult topics. In a designer-client relationship, this is particularly helpful because it gives the client permission to be more open about their fears, desires and aspirational goals. It also breaks down the natural defences that we all tend to put up when we find ourselves in a situation where saving face is more important than achieving our goals.

 

How does that apply to a design practice?

In the running of a design practice, we are reliant on our clients to get critical information to make any given project successful. Mastering humble inquiry, puts the client temporarily in the driver seat, giving permission to share information in a safe, non-judgmental way. After all, we all strive to look good, but that comes with a price, when putting up a always-positive front, we tend to engage our ego, that’s just human nature. It results in a skin-deep image of our self that we project to the world. Breaking down that barrier and getting deeper in a relationship is where the magic happens.

Every step of the design process ideally requires our clients to freely express themselves and talk about their aforementioned fears, desires and aspirations. When we get to the point where open and trusting relationships are created and maintained with our clients the information flows freely and our work becomes easier.

This in turns makes you more effective, which ultimately means more profitable because you don’t spend a lot of time -if any at all- dealing with “emergencies” that are often the result of poor communications. It is also important to note that this does not mean that we have to turn ourselves in order-takers, simply executing our clients’ every whim. Becoming a master of our craft is about finding a balance between being a spineless order-taker and an egomaniacal diva pushing people around. It’s about pushing and pulling, but always doing so in a way that both gives out clients permission to fully express themselves while maintaining the position of the expert leader, paid to lead the client to the desired result.

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Truth Is Golden Ep. 203 - There Is Something Funny About This

In episode 3 of our second season, I talked to David K. Levine a distinguished academic, political economist and popular author. We talked about his midwestern childhood, how economics can explain a lot of modern society challenges, his transplant life in Europe and how one of the biggest risks he took was a late-career change, taking on subjects he was not an expert in. Listen in to hear more about David and his accomplishments.

A guide to getting published for architects, part I - The traditional way.

How is it going to help me achieve my goals?

We will assume for the sake of this article, that you’ve already established, as a part of a larger business development strategy, that getting your work published is something you actively want to do. You already understand the value and simply want to go ahead with it.

While you could be a Generic Gerald - more on that later - and start pitching your projects to publications right away, it’s a good idea to sit down and think about your business objectives and how getting published with help you achieve those.

Strategy, strategy, strategy.

This is where strategic planning comes in. You will want to identify your business objectives and where you would like to grow. For example, if you have a residential practice and get plenty of good residential work, but you would like to grow your institutional portfolio, it may make sense to emphasize the institutional work and try to get published in that area, even though you’ll still want to get your best residential work out there to maintain that side of your practice.

This is where the projects to be promoted are discussed and you can start to form an idea of how you’re going to go about this. We are looking at long term goals, so really try to think about your practice in 5 or 10 years. Whether that vision may change or not, does not matter at this point.

Based on these business objectives, you can put together a list of completed projects in order of priority. This will form the basis of your publishing endeavour.

Did I say anything about strategy?

This is where you need to be bold and brave with your goals. The more off-beat and unexpected, the more likely you are to attract attention. It can be a scary proposition, but it’s a necessary one. This is where you have an opportunity to shine and express an opinion, something unique to yourself, that represents you and your company.

Being bold is a valid strategy. Heck, in my opinion, it’s the only way to consistently attract attention. The most successful architectural practices are the ones that find a way to stand out. That doesn’t mean that they mindlessly jump around like an over-excited child high on sugar. It’s more about speaking to the audience’s interests and desires and that may look very different for each practice.

Choosing the right hook.

Now that you have a strategy and know which projects you want to promote, it’s time to find the right hook, a.k.a. the angle of your story. You will want to tap into what makes your company unique. If you already know this and have an established company culture and set of values, this should be pretty straightforward. If this is not clear, you may want to spend some time figuring that out.

Then, onto the project. What is unique about it? It is a great space? Does it reflect the personality of the users? Is it particularly well suited for a specific use? Does it have a unique story? You want to reflect on the project and really nail down what its unique attributes are. Many publications, though not all, are interested in the way the space is lived in and will want to have access to users on the record as part of the story they will write. Not only it’s a good idea to include that in your pitch, but you may want to go a step further and prep your clients by letting them know that you want to get published and get their consent to be contacted by the media should they bite, as getting the users on record is a very common condition for publications, and a deal breaker if they can’t.

Picking the publications that fit with your strategy and angle.

Most editors like to be fed with stories that not only fit their editorial stance (that’s where you need to do your research and find out more about them) but also are compelling enough and well put together so that they can determine right away if that’s a possible fit before they spend any more time on your submission. I’ve heard first hand from editors that they get hundreds if not thousands of submissions and helping them sift through them quicker is very valuable to them and will give you brownie points with regards to increasing your chances of getting published.

If you’ve managed to get past the first line of defense, a succinct, yet thoughtful and most importantly, well put together submission will also play in your favour. Magazines get many submissions following the traditional press release format, which tends to focus on the project itself and the designer, generally following this formula: “Our project is awesome + we’re awesome, so please publish us”. Don’t be a Generic Gerald and do what everybody else is doing. The biggest missed opportunities when submitting projects for publication is when firms fail to speak more in-depth to their projects and how they function, enabling their users to live better lives and instead focus on the aesthetics.

How to be a winner

Being published is never guaranteed, as we will always be subjects to the unfathomable whims of editors and journalists. However, if you thoughtfully spend the time to strategize, come up with a catchy hook and be deliberate about the publications you choose to target, you will likely start seeing publications pick-up your stories more and more.

Keep in mind that this is a long game, and the more you can establish trusting relationships with media outlets, the less resistance you will find on your path to greatness and lack of success early on should not deter you from continuing as you will get better at it over time. Publications will start recognizing your name and give your submissions more attention. Like real life relationships, this takes effort to create and maintain.

Once you’ve submitted your project, the work doesn’t stop here. As everybody else is, editors and journalists are busy people. While it’s a common excuse around these parts to not give someone the time of day, we have to put ourselves in their shoes for a minute and imagine how many hundreds of submissions they have to go through for each and every issue. Sometimes, an otherwise perfectly suited submission will slip through the cracks just because.

Instead of giving up by assuming that since no one responded to your submission, they’re not interested, it is critical to pick up the phone and call that editor (easier to do if a pre-existing relationship exists) or even just send a follow-up email asking for an answer and/or feedback. It is not rare for a follow-up to lead to a yes, so this is low-cost, near effortless opportunity to increase your chances of being published. And don’t forget to ask for feedback on why they didn’t see a fit anytime you get a chance, it will help you improve both the quality of your submissions and strategically target them to the right media.

When it comes to doing this type of work, my personal mantra is “I’m not giving up until they either say, yes, no or tell me they never want to talk to me again”. If you behave like a polite, civilized human, the latter will be very rare. Most people value persistence so don’t be afraid to follow-up multiple times.

This traditional way of getting published, is still effective, albeit very time-consuming. I believe it is worth investing into if you can afford it, as paper-based publications are still very much alive and carry a lot more weight in terms of brand image. Telling someone you’ve been published in Architectural Record is way more prestigious than telling them you’ve been published on ArchDaily and for a good reason. Online publications have a place in your marketing efforts and for different reasons, but that’s for another article.

How I was inspired by a writer to look at architecture differently.

The State of Architectural Journalism.

I love talking to people in the architecture industry to find out what makes their jobs exciting, learn about their challenges and use that information to try new things. I often do this with journalists and editors and find it fascinating to learn how to think like they do, and it helps me help them to find good stories for their publications.  

When I met with Dave LeBlanc, columnist for the Globe and Mail and well-known for his weekly column, “The Architourist”, I learned a lot about architecture from a non-architect’s perspective. Dave is not a trained journalist, he spent his whole career in radio production and serendipitously fell into writing about architecture a couple of decades ago when asked to produce short radio stories on Toronto architecture. Having been a fan of design and specifically mid-century modern architecture since childhood he jumped at the opportunity, which eventually led him to become a weekly columnist at the Globe.

Dave is as much interested in stories as I am and, similarly, thinks architectural narratives in their current state are a bit dry and factual, too often forgetting to speak about the human stories unfolding within the built environment, in favor of the building as an object, replete with facts, statistics and bombastic declarations, which are no-more than transparent, ego-inflating statements that makes the designers feel good, but leave the people who are looking to connect with architecture on a deeper level a bit hungry for a relatable story.

How Kahn and Mies brought this home.

When I think about some the best and most memorable buildings I've ever had the chance to visit and get to know intimately, like Crown Hall by Mies van der Rohe and the Kimbell Art Museum by Louis Kahn, the spiritual experiences that I've had in those space had very little to do with the architecture itself, but rather with my experience of the space, specifically through the way natural light was managed and let into the building in very specific and deliberate ways.

I didn't care that much that the building was made of metal, concrete or wood but rather that these materials provided me with an phenomenal sensory experience and therefore deeply influenced me. The Kimbell with its silvery natural light flooding from the slits at the top of each vaulted ceiling, grazing the galleries’ surfaces and revealing the textures and warmth of the wood and concrete combination. Crown Hall through the enormous amount of natural light flooding the space from all sides, and reflecting the seasons and time of day, while blocking a direct views on the outside, the black steel curtain walls, terrazzo floors and wooden partition walls taking a back seat to that experience.

I believe this is what Leblanc is trying to convey in his weekly column: how architecture is a machine for sensory experience, to paraphrase Le Corbusier. Perhaps that's what his "Machine for living " idea meant? After all, what is life if nothing but a succession of sensory experiences?
 

More experiential narratives, less verbosity.

The lesson to retain from this, is that aside from other designers and self-proclaimed design nerds, very few people care about who designed a given building, how much of a celebrity the designers or how expensive the finishes are, because these facts are completely irrelevant to the physical experience of a space. There is a reason the best writers and magazines in the design world are more interested in how the architecture is lived in and like to include the users in their stories. That reason is that it makes for quality content that will capture a reader’s attention. It is an absolute necessity that the story you tell speaks to your audience, or you run the risk of losing their interest.

There is no shortcut for getting to know your audience. You have to spend time engaging with them. It helps greatly to be able to show a vulnerable side of yourself that they may not know about. Digital and social media allows for unprecedented levels of access to your audience at a very low cost, making it easy to be in dialogue with the people who are interested in your work.

Spending the time to craft compelling narratives that speak to the way your building is lived in is the way to go. I know it’s tempting to wax lyrical about the technical achievements of your project, but if they do not directly contribute to the human, dare I say emotional, experience of your space, they can be ignored. Instead the focus should be put on what it feels like to experience your space from a user perspective.

In these days of instant gratification and casual consumption, most people will probably not pay attention to what you are putting out. However the level of care that you put into it will be noticed by the people who relate to what you have to offer. This minority of ardent supporters will go to bat for you. Once you have a few of those, you’ll know you’re on the right track.

A community of followers, the kind of people who will fervently support you and promote you because they believe in your vision, cannot be bought. It is primarily based on trust and that trust has to be earned. There are no shortcuts.

What can you do today to build such a following?

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Kicking Fear In The Nuts

Writing these articles for you my dear readers, is always a challenge.

“Will they like what I have to say?”

”Does it even make sense?”

“Will I look stupid?”

“Is it a bad idea?”

“Will it fail?”

“Is there value in it?”

Those are some of the questions that I constantly have to grapple with, in an effort to fight off my second-guessing self, that little voice that always finds very rational, if not “beneficial”, reasons to not do something. I’ve learned from experience that this gut feeling, this fear, is my brain pulling convincing tricks on me to keep me inside the proverbial comfort zone.

I also know that coming out of that comfort zone is where the most learning and growth happens. I’ve seen it time and time again, in me and others. I know people who purposely push themselves past every one of their fear as an exercise in testing their boundaries. In return, they get so much more than they bargained for.

Historically Influential figures like the Eames and Bukowski, among many others, overcame their fear of failure on a daily basis which in turn shaped them as the masters of their respective fields we know today.

The Eames invited and welcomed failure. They saw it as a way to quickly learn and come to an optimal solution, the result of many brains, not just their own, tackling a problem, failure being the mechanism enabling them to shed the bad ideas and only keep the good ones, slowly arriving at a solution that while maynot have been perfect, it had been optimized through an iterative process. It’s been said that new hires in their office would be tasked with work they had no expertise in, like a graphic designer being asked to think up a building concept. It was a clever way to send a powerful message to their employees: don’t let fear of failure stop you.

Bukowski wrote for over 25 years before he got his first novel published, at age 50. An epic failure by any conventional standards, but he didn’t write to fulfill someone else’s definition of a successful writer. He wrote because he had an insatiable urge to create and overcame his fear of not making it by not worrying about the outcome, he just wanted to write. He was eventually able to make a living as a writer. Ironically, the first two thirds of his life before his late career as a full-time writer are in large part what made him such a compelling writer. Indeed his semi-autobiographical novels were heavily inspired by his own life and we wouldn’t have his amazing body of work to enjoy if it weren’t for him grinding for 25+ years relentlessly sending out manuscripts to publishers.

Fear keeps us from doing what the Eames, Bukowski and countless others have done before. Fear of failure, fear of not being able to pay the bills, fear of not looking good, fear of disapproving opinions and the countless other excuses that our cunning little brains cook up to keep us safe. The problem is that this safe zone is antithetical to growth, learning and accomplishing something greater than ourselves.

The key to overcoming fear and become comfortable with being uncomfortable is to find what moves you. Call it a purpose or a mission. With a clear mission, it becomes a lot easier to push past fear and be uncomfortable, in service of something greater than ourselves. With strong values and a clear goal, the path lays itself down and all it takes is actually doing the hard work to make it happen. Hard work being the operative word. In the course of this work, failure is inevitable, embrace it and make it a central part of your learning.

The most successfully durable companies in the world, are those with an undeniable sense of purpose and a clear mission (Zappos and Whole Foods are great examples of this) and if you look into their history, their wake is littered with personal and professional failures. But it is their seeking and embracing failure as well as their ability to learn from it in order to better themselves that makes them great today.

Don’t wait for permission to do something, nobody will ever give it to you. Get out there and try new things. If it fails, you’ll learn more from failure than you will from success. It’s time to boldly get out there and kick fear in the nuts!

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The 10 Commandments of Design Culture, Strategy and Communications - Our Manifesto

Two kinds of architects populate this universe: those who understand culture and communications as a critical part of running their practice and those who don’t.

Let’s do a little mental exercise and picture two architects, both mid-career, with very similar experience and talent:

Architect numero uno is deeply invested in the success of her business and although her talent has gotten her some attention, she understands that a prosperous company needs much more than sheer artistic genius. She invests equally in the success of her stakeholders: employees, client and suppliers. As a result, she gets work that’s profitable, that she’s passionate about and challenging but delightful clients, which often become her friends. Her employees are happy and invested in their work and her suppliers are very friendly and accommodating.

Architect numéro deux believes that his great talent alone will bring him all the work he needs to be successful. Alas, his reality is different and his business has a high turnover rate, his clients are often pissed off at his lack of professionalism and his suppliers have stopped any largesse after his nth unpaid bill. Yes, he got his big break when talent alone got him his first commission, but it hasn’t gotten any better since and he’s been riding that wave for 20 years. The cognitive dissonance between his idea of a successful business and his reality is staggering and sadly, doesn’t realize that business as usual will eventually, well, put him out of business.

As an architect, your success largely rests on your ability to create, develop and foster a purposeful culture that promotes value-based decision making and business practices as well as open and clear communications. It really boils down to the way the information flows between designers, clients, employees and suppliers. It starts with the way you communicate inside your company, with employees and suppliers, as well as outside, with clients and prospects.

Since we care greatly about your success and that of the industry, here are the 10 commandments of design culture, strategy and communications. If you’re practicing in this field, they will help you identify which areas you may need to work on and act as a guidepost to help you make the important decisions for your business:

The 10 commandments:

1. Be purposeful and mission-driven: A clear purpose and mission will serve as the foundation of every decision made inside your business.

2. Nail your values on your door: Being vocal about what you stand for serves as an accountability tool internally and externally. When the going gets tough, it serves as a reminder to not cut corners.

3. Strive to speak human: Speak to your stakeholders in their own language. To them, archispeak is gobbledygook and serves no purpose. Lose it.

4. Do your best to empathize and understand: Your ability to empathize with your stakeholders, will defuse many tense situations and help you make the decisions that serve everybody’s best interest. Asking the right question is often all it takes to solve an intractable problem.

5. Be strategic: Before you start solving problems, it is crucial to reframe, challenge assumptions and get to the bottom of the issue. Only then a suitable strategy will emerge.

6. Do not allow the commodification of your craft: Only by using different behaviours, language and strategy from everybody else, you will distinguish yourself, be valued for your expertise and not be treated like a dispensable commodity.

7. Treat every stakeholder the way you want to be treated: Your wise grandmother probably reminded you of that one all the time. Trust her wisdom.

8. Be honest and truthful: Sometimes honesty is hard to deliver, but it will serve your relationships in the long term and build trust. If you’re honest with yourself, people will be honest with you.

9. Acknowledge, own and learn from your failures: We all fuck-up from time to time. Accepting failure as part of the learning process is fundamental. If you’re unsure of what the lesson is, ask for help.

10. Experiment with new ideas: There is more than one way to skin a cat. Give yourself room to experiment and play in order to create a culture of openness and innovation. We call it kicking fear in the nuts.

Bonus commandment: When in doubt, less is more.

Don’t do it alone! It’s okay to ask for help when you’re stuck. Getting help will help you focus on what you should be doing most of the time: successfully running your business.

It’s time to kick fear in the nuts and get crackin’!

You're not you when you're a commodity.

Last week, we took a look at well-know advertisers and some of their campaigns, as well what makes great advertising.

In this second instalment, we take a look at how creativity is here to save the day, how empathy can help us gain a deeper understanding of our audiences and ourselves as well as the value of risk-taking in a safety-obsessed world.

Creativity is only way to stand out

There are many examples of ads out there that were able to stand out and be remembered many years after they were released. If not all of them, the huge majority are remembered because they were conceived in contrast with other, more conventional ads. It’s that contrast with the conventions that made them stand out.

Creativity can take many forms, but humor is the widely considered to be the fastest way to break the mold and send a message that company X isn’t like companies A,B,C and D. It takes courage because as humans, we generally do not like to stand out and want to blend in, to relate. A company with the confidence to stand out, is a company that knows itself well enough to know what makes them unique and not be afraid to communicate that message in their adverts.

 

Understanding of one’s audience is the only way to truly connect.

The risks taken in setting oneself on the path to stand out from one’s competitors can be mitigated by researching one's audience and gaining a deeper understanding of who they are. You need to learn about them, their fears and their aspirations. By doing so, you will gain two things: first, a direct path to forming an emotional connection with them and second, the ability to cut through the noise and send a message that they will instantly relate to.

 

Understanding oneself

Similarly, companies have to spend time understanding themselves and do their homework reflecting on what makes them unique, as well as combine that knowledge with that gained of studying their audience. Finding a purpose is a great place to start. A lot of companies out there have a default purpose that is uninspiring. It is necessary to dig down to what the aspirations of the business are. Every great company has clear and concise purpose and is very clear on what that is.

Armed with the tools of empathetic understanding of itself as well as its audience, any business can set itself on the path to stand out.

 

But I'm afraid of taking risks!

Setting oneself apart is taking a risk, no question about this. There are many examples out there of companies that alienated their audience because their messaging veered too far from what people were accustomed to. However, armed with the right tools, solid knowledge about itself and its audience, a business should be able to find a way to both stand out and not alienate the people it caters to.

Ultimately, it comes down to this choice: either one is willing to take risks and the potential reward is great, or one decides to stick with the status quo with the high probability of commoditization and increased competition, making it harder to run a successful business. Do you want to be Old Spice or Charmin?

It is also important to remember, and O'Reilly explains that in detail in his book, that the large majority of companies who have taken a leap of faith and changed their messaging for the better have seen tremendous returns. Case in point: Snickers with their ongoing "You're not you when you're hungry" campaign has seen their global sales in the first year of running the campaign increase by 15.9%. 

What are examples of businesses you’ve seen taking similar risks and get results? Comment below to share your thoughts!

Photography + Styling = Killer Images

Styling is the art of making a space look like it’s lived in, often in a subtle and discrete fashion. Ideally it is something that not consciously noticeable because it looks natural. This effortless look requires a lot of planning and production work, but the results are often far beyond what a professional photographer alone can offer.

Kitchen

Révélateur studio always strives to improve the quality of its offerings and client satisfaction. This is why we are pleased to announce a partnership with professional stylist Laurie Clark. Starting immediately we are offering styled photography packages. By offering these packages, we take the headache out of shooting professionally styled quality photography, while delivering incredible value as these images will make you look fresh and professional.

Main entrance and lounge

Laurie Clark of GH Styleworks is a master stylist with a background in art direction and graphic design. She has an eye for the killer accent that is going to bring a photograph together. Our own architectural and photography background complements Laurie’s skill set perfectly and we can together deliver images of exceptional quality.

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Dressing room

Since a picture is worth a thousand words, the images included in here a few example of images that came out of a shoot we did with Laurie (Project: Taylorwood, Build: Rose Barroso | Barroso Homes, Design: Urbanscape | Ali Malek-Zadeh). Feel free to contact us for further information on these packages.

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Main entrance

Tips for hiring an architectural photographer #10

This is post 10 of 10, in a series detailing important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

10. DO IT RIGHT THE FIRST TIME. 

Some shoots will require specific equipment and skills to be done properly. Do not skimp out on the expense if it gives you the images you need. Equipment rental and consultants are sometimes necessary to get the job done well. You photographer will be able to make appropriate recommendations.

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Webster PS, Kohn Shnier Architects, Toronto

Tips for hiring an architectural photographer #9

This is post 9 of a series of 10, in a series detailing important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

9. CHOOSE EXCELLENT CUSTOMER SERVICE. 

Professionalism prevents a lot of headaches. It is often said that the first impression says a lot about a person. Make sure your photographer cares about your needs in more than just words. Their attitude, attentiveness and professionalism should show in everything they do. Make your life easier by choosing someone you can rely on. 

Buckingham Arena, WGD Architects, Toronto.

Tips for hiring an architectural photographer #8

This is post 8 of a series of 10, in a series detailing important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

8. CONSIDER ENVIRONMENTAL FACTORS.

Your photographer should know how to deal with these factors (seasons, weather and time of day) in order to take the best shots at the ideal time. Factor in weather and allow for contingency plans. Architectural photography is particularly subject to weather, especially when shooting exteriors. When planning a shoot, ask if your photographer has a contingency plan in the case of bad weather - and do not hesitate to reschedule. If images are shot in poor weather, you risk having to re-shoot the project at additional expense if the quality is negatively affected. Ask your photographer to supply you with a site prep checklist. There is a lot more going into preparing the site for photography than just cleaning up. In order to get the best looking shots, ask your photographer to make recommendations for staging the images. 

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Warden Avenue Jr. PS, Kohn Shnier Architects, Toronto

Tips for hiring an architectural photographer #7

This is post 7 of a series of 10, in a series detailing important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

7. GIVE CREDIT WHERE IT’S DUE.

Mutually beneficial relationships are best for all parties involved and crediting your photographer whenever you use their images is more than a mere contractual requirement, it is an ethical thing to do. They should also credit you, the client, on their online and offline marketing material. Do not hesitate to ask them to do so should they not offer it from the get-go (it can also be a contractual agreement). 

Webster PS, Kohn Shnier Architects, Toronto

Tips for hiring an architectural photographer #6

This is post 6 of a series of 10, in a series detailing important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

6. MINIMIZE YOUR COSTS.

A good photographer will understand your needs and help you come up with a solution that fits your budget. There are many ways to keep costs reasonable and this should be discussed with your photographer, for example:

1. Shop locally if you can. By avoiding travel expenses, you save money and promote the local economy.

2. Bundle shoots together. If you can combine several projects to be shot at the same time, your photographer should be able to give you a better deal.

3. Use fewer and better views. Carefully consider the shots you need in order to save money. If unsure, your photographer will have a good idea of what shots will best tell the story of your project. Ask them to make recommendations.

4. Keep the bottom line in mind. How much money are you likely to make with these images? How many projects can they help you win? 

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Greenrock rental management office, Toronto, Kohn Shnier Architects

Tips for hiring an architectural photographer #5

This is post 5 of a series of 10, in a series detailing important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

5. GET THE RIGHT LICENSE.

Great savings are within reach if you predetermine how your images are going to be used, including potential uses that might not appear necessary at first. Discuss your licensing options with your photographer and favor open source licenses (such as Creative Commons) over copyrighted images as these will give you more flexibility in the way the images can be used and limit your legal liability in case of a dispute. It is important to understand copyright law and how you can use your images - not all licenses are created equal - and be sure to ask your photographer to walk you through the type of license he/she is going to use and how it will impact your rights to the images. These licensing terms should be clearly detailed in the photographer’s contract. 

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Tips for hiring an architectural photographer #4

This is post 4 of a series of 10, in a series detailing important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

COLLABORATE

Photographing buildings and interiors is not an exact science and it requires collaboration between the photographer and client, in order to achieve the client’s vision. Photographers have a particular way to look at spaces, usually different from the clients'. It is a good idea to use this difference in viewpoints as a sounding board for coming up with ideas that neither you, the client, nor the photographer might have thought of on their own. The pre-production meeting and the scouting shoot are great places to brainstorm and kick-start this process. If you are going to be present on the day of the shoot, use this to you advantage by discussing each view with your photographer and formulating your specific needs in the clearest way possible. Your photographer should be able to show you each shot prior to capturing the image to serve as the basis for discussion. 

Yorkville residence, Audax Architecture

Tips for hiring an architectural photographer - #3

This is post 3 of a series of 10, in a series detailing important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

UNDERSTAND AND FORMULATE YOUR NEEDS. 

It is advisable to sit down and think about what your needs are prior to discussing them with a photographer, in order to make them clear to the professionals you will be hiring. Think about the aesthetic/mood you are trying to achieve, the number of images you need, the way you envision your project to be shot, your budget and any other specific requirements you may have. Photographers should be able to help you uncover these needs by asking a series of increasingly pointed questions and come up with a tailored estimate that will cover all those needs. Once that discovery process is complete, the photographer will know exactly what those needs are. Remember that “understandings prevent misunderstandings” and ask your photographer to clarify anything that is unclear. Do not let technical terms and jargon confuse you. 

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Tips for hiring an architectural photographer #1

This post is the first of a series of ten, detailing the most important aspects to hiring an architectural photographer while avoiding the most common pitfalls.

GO FOR VALUE OVER PRICE. 

When hiring a photographer, it is important to consider what is included in the service that was quoted to you. Not all photographers’ fees are created equal and it is critical to read the fine print in order to understand what the fees include. Some professionals will do a “package price” including a variety of services while others will break down their estimates into line items. When comparing fees, make sure that these include comparable services and more importantly, that those services suit you. Be wary of items that are included but not needed for your purposes. 

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