We are happy to announce that we are opening our store this week, which includes classic pieces from APA’s storied “history” – including our emotional support mugs and bingo mugs for those days when you just need a laugh before heading out to shoot, or tote bags to carry all of your accumulated props and snacks to and from the set!
Q: I'm an architecture and Interiors specialist in Detroit, I basically give my clients a non-exclusive perpetual unlimited usage license, and include contest entry, but this wouldn't include editorial feature usage. How frequently are large publications going to...
There’s no time like the present to sharpen your understanding of architecture given the current times we are living in – with millions (billions?!) of us in lockdown around the world, the amount of resources being made available for free is staggering.
The architectural photography community is spread thin across the world, yet we are a close-knit community brought together by the internet and our shared love of photographing homes, businesses, art, and design. Currently, there is little to no data available related to the way we operate and the most frequent questions that we receive on APAlmanac relate to how people across the world run their businesses and what they can do to improve their own businesses.
My guess is that almost every photographer and creative has probably come across a client that’s either tried to lowball them or just couldn’t afford them. These situations can be tough, especially if you’re just starting out in the industry. In my experience I’ve made a mess of a few negotiations but, these things come with time and experience.
Baking Show Contestant YouTuber Tom Scott is known for his short, humorous, informational videos covering everything from sending garlic bread into space to navigating the interior of the brain with neurosurgeons. In one of his most ambitious projects to date, Tom Scott tackles a topic that is close to the hearts of every artist: copyright.
There are two categories of photographers in the world—those whose work has been infringed, and those whose work will be infringed. Sooner or later, it’s almost certain that it will happen to you. You’ll be casually scrolling through your social media feeds, or maybe researching a potential client’s website, when suddenly, you pause in disbelief as the reality sets in: your work has been used without your prior knowledge or permission.
I photograph a lot of homes for a lot of different clients with a lot of different end uses for those photographs. While in a perfect world I’d get a photo credit every time my work was submitted, sometimes that doesn’t happen and it’s up to me to get it fixed.
I think it’s safe to say that the current pandemic sucks for everyone involved. Short of toilet paper manufacturers, pretty much everyone on planet earth is dealing with ramifications and fallout of the ongoing…issue. A few days ago I asked a group of photographer colleagues how they were being impacted, and received a wide range of responses and opinions.
San Francisco photographer Peter Lyons has been working all over the Bay Area for years now, and since the advent of cameras using built-in GPS, he’s geo-tagged nearly every photo he’s taken. Peter recently shared a screen shot of his work history and I was blown away.
Since the beginning of my photography career, I’ve had a list of projects that I dreamed of shooting. While most of the projects were out of my reach at the time, as my career has grown, buildings on my “dream assignment” list have become more accessible — while my goal list has grown!
A scout is an integral part of the architectural photography process, but one mistake I see a lot of photographers making is that they agree to a scout before they are in contract to complete the shoot. It’s gone pear-shaped on me enough that I implemented a policy requiring a deposit before any scouting takes place; here’s why.
Although we’re required to wear many hats as photographers, we tend to think of ourselves as artists first, treating other roles as secondary, with sales often regarded as only an afterthought. The truth is that we are, first and foremost, salespeople.
For the last decade, I’ve been dealing with varying levels of on-again, off-again back pain and the associated frustrations that come along with it. From almost non-existent to “I literally can’t even get out of bed,” the pain has been with me in some form daily, affecting work, relationships, and so much more.
Over the years I’ve had the great fortune of befriending many very talented photographers from around the world; I’ve also come to have an obsession with all things British thanks to binging episodes of Grand Designs and Top Gear. Consider me another American British Fetishist, I suppose.
A recent article by Lexi Taciak discussed how we finally have the perfect podcast for architectural photographers, and the latest guest on the BAAM podcast was none other than APA’s founder Mike Kelley himself – and the insights he provides are invaluable.
It seems near-constantly that we are asked for ‘all rights’ to the photographs, or to own them in ‘perpetuity’ for some reason or another, but a recent e-mail exchange I was a part of presented a perfect opportunity to share one way I ensure my clients have the license they need while at the same time not giving in to overreach and a loss of image rights.
A group of high-profile architecture visualization professionals have banded together to ensure that they are properly credited when their work is disseminated throughout the architecture and media world at large. A problem that many photographers are also familiar with, for years, architectural visualization artists have found their work has gone uncredited when those assets are so vital to getting architecture projects off the ground.
Architects, interior designers, developers, and hotels don’t just exist in big cities, and neither do architectural photographers. I personally know photographers everywhere from the biggest cities in the world to remote and desolate areas, and they all have different definitions of success – but one thing is for sure and that is they are all making a healthy living at it, although using different methods and approaches.
In order to grow your photography business, you must constantly be re-assessing and re-evaluating how you are doing business. One integral part of your business is how you price your services and capabilities; doing this incorrectly and undervaluing or overvaluing what you provide can be your downfall as a professional.