I USE NATURAL LIGHT. I bet you do too, every day, all day. Unfortunately, most shooters only use natural light to let them unpack, then destroy the character of a space with their strobes and hot lights.

While there is a down side to using Natural Light in some situations, there is a much more important up side that allows me to capture the inherent and designed ambience of a location. I find that it is better to show how you experience a space rather then clinically document every detail. That means taking advantage of natural shadows and avoiding aggressive wide-angle lenses. If the first thing you are aware of when you see an image is the photographer due to unnatural lighting, overly wide lenses, overly manipulated details, or an over all synthesized appearance, then you have hired the wrong photographer.

THE BENEFITS OF SERENDIPITY. It is logical and necessary to have some sort of shot list set up before a shoot. It could just be a loose overview based upon the changing light of that particular day, a quick walkthrough of the location, and verbalized suggestions from the Client. Often it is just as important to get a wish list of what not to shoot from my client. Very often the best shots are unplanned, unscripted, and not even imagined before the shoot. A three dimensional space changes the way it looks as the day proceeds. By being aware of and open to that you can find that sometimes it is best to shoot when the sun is backlighting instead of falling across a composition, or that an area initially deemed not worth shooting becomes a marvelous image. When we get one of those gems during a shoot it is totally acceptable by both you and I to claim that it was all planned beforehand. Whether it is for a personal portfolio, awards submission, editorial submission, or any purpose where the images are seen out of context the most important rule to follow is to not create a boring image.

USAGE LICENSE. My standard usage license is a typical Non-Exclusive 10 year agreement. It allows your use of my images in just about any way needed to promote your work short of allowing a third party to use the images to make money. I ask that an agreed upon ©credit line is visible in all uses. This protects both my Client and I. If a third party wishes to publish the work and is a “for” profit business, then they would need to get a release from me in most cases, which any reputable publisher already knows. I don’t worry about local publications or sites like Houzz, and am always willing to work with you to help promote your work since more work for my Clients means more work for me.

PRODUCTION FEES. This is for the “on-site” work traditionally known as a day fee. In this digital world, location work is not so much “taking” photographs as it is gathering the data I need to create a previsualized, successful image during the post-production processing.

PROCESSING FEES. Correctly processing digital images is a very labor-intensive job that cannot be farmed out. Processing manipulates one or several image files into one finished photograph. Among the things that are done during this step is adjusting the color, cropping, making sure that the perspective is correct so that none of the walls are leaning in or out, removing any spots, easy to fix location problems such as outlets, and sizing the image to deliver to you a high resolution tiff file plus an optimized low-resolution jpeg.

“Nothing personal, its just business.” I hate those words and feel that they do nothing but restrict the creative potential of any business relationship. For me, all business is personal. I like my Clients and consider them friends. I work hard to create images that both my Client and I are proud of. I keep my fees well below those charged by other Photographer’s with my experience. To be able to do this I ask that Clients pay a deposit at least one week before each job and pay the balance of my invoice upon delivery of satisfactory images.

Please feel free to contact me at any time with any questions or comments.