One of the first questions AEC and CRE firms want answered when they contact me is: How much does a professional architectural photo shoot cost?

Although this is a simple question to ask, the answer is complex. A photo shoot has many variables that I will try to do my best to explain.

This article is written to show you the many variables of a photo shoot and how those variables can affect the cost—either up or down.

Make sure to bookmark this page and use the links below to navigate around as you explore this topic.

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The costing of an architectural or commercial real estate photo shoot is much like pricing different hotels before choosing where to stay. With so many options—levels of service, locations and experiences available—price ranges can vary drastically.

A basic hotel room may cost you $150/night for a safe, clean accommodation with the basics, but it can quickly cost double (or more) once you add items like room service, mini-bar selections, movie purchases, spa treatments, laundry service, suite upgrades, dining services, local entertainment or theater tickets, etc.

Why do people choose to include these add-ons? Because people want a higher-quality experience and are willing to pay for it.

The same idea applies to architectural photography. You can go for the basic, “good enough” images to get the job done, or you can upgrade your value proposition.

You can showcase your accomplishments and get more new work because you’re true to the quality of your brand and reputation.

Most industry firms will actively use their completed project or property photography for at least 2-4 years, or sometimes longer.

Because of this time line, they want to make sure their images will provide them a return on their investment.

In most cases, they want to maximize the image use across traditional marketing channels like their website, portfolio, sell sheets, proposals, presentations, trade shows and design award submissions, and possibly in some creative new ways that will help their images work harder.

Clients want to see their project images used for as long as they need to communicate their key project accomplishments (and to win more work, showcase the capabilities of their firm).

My hope is that AEC industry firms choose to collaborate with a seasoned professional who cares about helping them grow their business. Parntering with a professional that is as passionate about their work as her clients are about theirs, while serving as a trusted advisor to their marketing and project management teams.

Unfortunately, some firms focus on getting the lowest price and finding the cheapest contractor. The result? They sacrifice the assurance of high-touch service, quality of deliverables, and a positive client experience.

Real estate photographers (residential and light commercial)

Real estate photographers generally work with residential property managers, real estate brokers and smaller businesses with modest budgets in the hundreds of dollars, even for luxury homes.

An example scope of work and pricing for a real estate shoot might be for a home or apartment complex where each unit needs 15-25 shots (including the bathroom, laundry room and every nook in the place), taken in a few hours and uploaded to the MLS property listing site for $200-$400.

The goal is to use these images as a sales tool for the short term to move a property, and they may never be used after the sale closes. These images have a super-short shelf life.

Architectural photographers (commercial only)

Architectural photographers work with architects, general contractors, construction managers, OPMs, engineers, developers, interior designers, municipalities, commercial brokers, etc. They have revenues in the millions and work on commercial-size projects, although their ability to budget and pay for professional photography is not based on the cost of a project.

An example scope of work and pricing for an architectural shoot has a much larger range of pricing based on the complexity of the shoot(s). I’ve listed some scenario examples below to illustrate a few of them. The commercial approach to completed project photography is based on the “less is more” principle—not the quantity of imagery for every nook and cranny in the space.

The goals of commercial architectural images are to be used as sales, marketing and business development tools. They are an investment for long-term use and across many types of communication campaigns, from design awards to proposals, from trade shows to presentations, and from online social media boosts to direct mail.

Remember those add-ons you want to include in your hotel experience at the start of this article? Some photo projects require variable add-ons that increase the cost of a photo shoot. (Note: these add-ons are contingent on what the deliverable results need to be.)

Here are some of the most common variable add-ons affecting pricing of an architectural photography project:

• Elevation or lift assistance (stepladder, large ladder, or scissor/lift bucket)
• Photography assistants
• Multi-locations (shoot planning, weather planning, packing gear, travel time, etc.)
• Aerial shooting (drone or traditional plane rental)
• Video
• Site walk-through (site visits at the shoot location)
• Travel (local, air or train tickets, hotels, car rental, parking, tolls, etc.)
• Meals
• Equipment rentals (gear, lighting, accessories, etc.)
• Pre-production (planning photo shoot logistics, including hiring ladder and photography assistants, weather watch, finalizing shoot plans with client, ordering additional equipment as needed, prepping/packing/testing photography gear)
• Models (hired, volunteer, wardrobe mangement, etc.)
• Props
• Image handling (downloading images, culling proofs)
• Web gallery creation and management
• Post-production (client retouching input, markup files for retouching, gather and send files for retouching, manage retouching proof rounds, receive final retouched files, package and deliver final images, and create usage license(s) and image contact sheets)
• Retouching (basic or advanced, composites, etc.)
• Rush image delivery
• Insurance certificates
• CD or DVD delivery
• Additional photography license preparation
• Copyright buy-outs
• Scaled print runs or special usage outside of the licensing agreement (additional usage requires additional fees and documentation)

As you can see, there are many options available that increase costs in an architectural photo shoot.

For example, when a firm requests a quote from me, I have the firm provide me some basic project details. Then we set up a 30-minute call to talk through the total scope of work (SOW) in detail. After the call, we’ll know if we’re a good fit to work together.

When contacted by a firm to provide project pricing and availability, discussing the budget is a key factor. I always get this out on the table early to respect a firm’s time and to quickly assess whether we are a good fit to collaborate. It’s not only a matter of budget, but also a matter of being organized to collaborate; because I can do as much or as little as my customers need me to do, in addition to making recommendations along the way. This tailored approach allows us to find ways to build in efficiencies and cost savings so my clients know they are getting the best pricing for their project or property.

Unexpected site situations can come up on location. The question is: how do I ensure my clients are comfortable that I can take care of the situation? My Heather Conley Photography (HCP) guarantee is that I will not go back and ask the client for more money unless the SOW changes. But if the SOW changes, I will transparently handle any change orders with the client’s approval.

The possible scenarios and types of photo shoots could surely fill a book; there are endless combinations and project types. I’ve put together nine scenarios below with titles that make them easy to scroll through.

The first three examples are local, single-site location photo shoots listed by project size (small, medium, large). Then there are six more examples covering larger, multi-location or industry-specific shoots that follow. These first three list starting price ranges.

1. Small project (3-5 shots)

Travel: local ground 60-minute round trip drive included
# project location visits: 1
# hours on-site: 2.5
Elevation assistance: stepladder
Photography assistant: no
Site preparation/coordination: client
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license

In this scenario, the client is responsible for all site coordination, site cleanup, staging and preparation with their client or property owner/manager. Although staging or tidying up a shoot location is not a complicated task, it does require a sense of how to declutter and minimize distractions. You’re paying the photographer creative fees to photograph and probably not to move trash bins and sweep up mulch.

I recommend this type of scenario for small projects that may be common to your marketing mix. Here are a few examples:

• A first project with a new architectural photographer
• A project where you need to add more photographers to your resource pool
• Challenging projects
• Unique projects with special features

These kinds of small projects are low risk and allow both parties to test-drive the relationship, ensuring it works for everyone. It’s also a great first scenario for a firm that’s used DIY (do-it-yourself) photography in the past and wants to try using a pro photographer.

Example HCP price range:
Without knowing every complexity of your firm’s shoot, my rates for this size project start at $2,500-$3,000.

2. Medium project (6-8 shots)

Travel: local ground 60-minute round trip drive included
# project location visits: 1
# hours on-site: 4-5
Elevation assistance: hired ladder assistant
Photography assistant: TBD
Site preparation/coordination: client
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license

In this scenario, the setup is like the smaller entry-level photo shoot above but with a difference: the shot list is larger (now 6-8 images) and a hired ladder assistant is brought in. The other elements included in the shoot remain generally the same.

An example of what can elevate the costs for this type of shoot would be the ratio of exterior to interior images (for example, if two of the eight shots are exteriors and the other six are interior shots).

Interior shots are more complex in shooting and retouching. This requires additional time.

Example HCP price range:
Without knowing every complexity of your firm’s shoot, my rates for this size project start at $4,500-$6,000.

3. Large project (9-12 shots)

Travel: local ground 60-minute round trip drive included
# project location visits: 1-2
# hours on-site: 7-8
Elevation assistance: hired ladder assistant
Photography assistant: yes
Site preparation/coordination: client
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license.

In this scenario, the setup is like the small and medium-size photo shoots above, with the difference being that the shot list is even larger (9-12 images) and a hired ladder assistant is brought in along with a possible photography assistant. These elements will add to the photo shoot cost. The other elements included in the shoot remain generally the same.

Again, what will elevate the costs for this type of photo shoot (ex. 10 project images) is the ratio of exterior to interior images (for example, if two of the 10 images are exteriors and the other eight are interior shots). Interior shots are more complex and require additional time.

Lastly, multiple visits may be required to complete this shoot—adding return travel and other associated costs (parking, meals, etc.) or the return of a ladder for hire assistant.

Example HCP price range:
Without knowing every complexity of your firm’s shoot, my rates for this size project start at $7,000-$12,000.

NOTE: In the examples below, I eliminated the overall summary explanation but noted any additional costs that change the time and effort associated with each type of project.

1. Reclaiming a space: education project (12 shots)

Travel: local, 60-minute round trip drive included
# project location visits: 3
# hours on-site: 2
Elevation assistance: stepladder
Photography Assistant: TBD
Site preparation/coordination: client
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license

Additional costs:

• Pre-proposal site visit
• Site walk-through (days before the photo shoot)
• Client purchases additional images, beyond those on the detailed shot list in our agreement

Project note: this site location had a lawn sculpture installed two weeks before the photo shoot. Additionally, the grass had to be dropped in around the sculpture on multiple exterior shots (advanced retouching). There were other exterior areas around the school that were damaged during construction that were not repaired by the school. A situation like this puts the burden on the client to make the project visually appealing.

2. Developer: mill renovation for housing (75 shots)

Travel: multiple round-trip drives, first 60-minute round trip included
# project location visits: 5 (3 interiors, 2 exteriors)
# hours on-site: 28
Elevation assistance: hired ladder
Photography assistant: yes
Site preparation/coordination: client/property managers handle
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license

Regarding additional costs, this project was priced differently than the typical project. This example used a day rate, an hourly method, to estimate two proposals: first, the creative fees (photographer’s shooting time), and second, the retouching of final images chosen (by the hour and complexity of any advanced retouching). This approach gave the client the most flexibility to choose as many, or as few images as desired, and not to be locked into a set shot list.

The big benefit is that the shooting time estimated ensures all the images are captured at the location, so the client has the opportunity to come back and add more shots onto the project later.

3. Multi-exterior: industrial CRE (20 shots)

Travel: multiple round-trip drives, first 60-minute round trip included
# project location visits: multiple visits, spread over two months around favorable weather
# hours on-site: 35+
Elevation assistance: stepladder and hired ladder, as needed
Photography assistant: TBD
Site preparation/coordination: client handles
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license

Additional costs (including change orders): return travel on several locations that were not ready to shoot, plus unexpected advanced retouching for locations on the client property that were under construction and needed help, including dropping in grass and making paved areas whole.

4. All interior: retail (4 shots)

Travel: local, 2-hour round-trip drive, first 60-minute round trip included
# project location visits: 1
# hours on-site: 2.5
Elevation assistance: N/A
Photography assistant: yes
Site preparation/coordination: client handles
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license

Additional costs: longer local travel distance and advanced retouching for all interior images.

5. Mixed: exterior and interior: K-12 (8 shots)

Travel: local 1.5-hour round-trip drive
# shots: 2 exteriors, 6 interiors
# project location visits: 3
# hours on-site: 5-6
Elevation assistance: hired ladder, 2x
Site preparation/coordination: client handles
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license

Additional costs: pre-proposal site visit, second site walk-through days before the photo shoot, advanced retouching for interior images, exterior advanced retouching for pavement and concrete cleanup following construction completion (including morning and afternoon ladder assists). Project had to be photographed around school closing days or vacations.

6. Landscape architecture: multiple project locations (30 shots)

Travel: Multiple round-trip drives, first 60-minute round trip included
# shots: 3-5 images per project location
# project location visits: 8
# hours on-site: 10
Elevation assistance: stepladder
Site preparation/coordination: typically none for public spaces, unless grounds are managed by a municipal landscape service, which may need to be coordinated
Included: pre- and post-production; image handling/web gallery; retouching: basic (one round), image delivery; single-user license

Additional costs: advanced retouching for any unexpected item removal or repairs needed on-site. Often, landscape architecture projects need years to mature, and the client has no control over the status of the location years later, like landscaping and maintenance conditions—and even litter or vandalism. Once on-site, I may find unexpected situations that will need retouching “cleanup,” with change order costs associated. Typically, I discuss this up front with clients whenever I begin these types of projects.

It’s clear: the cost of a project photo shoot varies quite a bit, considering that each firm and project has different needs, goals and budgets.

When it comes to saving money and building efficiencies in your photo shoot, there are variables that cannot change, and variables that can change or have some flexibility in your photo shoot. For example, a client might want to eliminate the lift bucket we need to get the shot they want. However, 90 percent of the time projects cannot be shot at ground level. This is not a flexible variable; it’s a requirement tied to the quality of the deliverables.

On the other hand, there are some logistics and project management variables that have wiggle room in your photo shoot, to help save costs and build in efficiencies without compromising results. Here are some examples:

• Hiring local
• Bundling locations
• Contracting elevation assistance (do you have your own ladder or lift bucket?)
• Leveraging cost sharing
• Handling site staging/prep
• Using models: releases and coordination
• Scaling back shot lists: quality over quantity

Hiring local

Local photographers live and work close to your projects. This allows flexibility to schedule your project photography, with more fluidity to work around unexpected weather issues that can cause delays or return trips.

Hiring local commercial photographers is also an important way to support small creative businesses, which are owned by your neighbors and fellow business people.

Chances are they have a network of qualified local talent that complements the work they do and are a good resource to bring in other experts to support your firm. Expenses can also be cut when connecting directly to a local photographer versus hiring an agency to bring one in for you (marked up at agency rates).

Bundling locations

A skilled photographer will use his or her experience to make the most of combining multiple locations for an assignment. Consider bundling more than one project when feasible.

Shooting locations bundle nicely when located near each other and scheduled for a similar time of day.

For example, two locations within 15-30 minutes of each other that both face west make a great late-day pairing. The photographer is already on the road, and the initial half-day creative fee to show up and turn on the camera is a direct savings when there’s more than one destination on the schedule.

Elevation assistance: do you have a ladder or lift bucket?

My industry clients are almost always working near a ladder or lift bucket at some point in their AEC project. I will often suggest they provide the lift mechanism to save cost, whether it be a tall A-frame ladder (taller than my portable 6′ step-ladder) or a lift bucket, as required.

General contractors and construction firms most often provide the elevation assistance, since they have it on hand. However, the occasional developer (or another project partner) may have access to a lift bucket if they call in a favor (saving anywhere from $350-$900 a day in my pricing structure).

Cost sharing

There’s usually more than one party involved in any AEC project, including owners, architects, interior designers, contractors, consultants, vendors, tenants and others, that is invested in the end results of the project.

A single photography assignment can be marketed to multiple parties using cost-sharing methods; it’s a common practice across the industry. Be aware that each photographer has his or her own pricing arrangement. It’s important to let your photographer know early in the proposal process that you are interested in this licensing program.

Scheduling and site staging/preparation

Rushed timelines add expense. Relaxed schedules allow the photographer to work through the challenges without adding cost. Weather is also a factor, so extended schedules are always preferred. A tight schedule will not allow you to manage unfavorable weather and other variables out of your control.

Consider adding alternate times of day to your projects when you have the luxury of time and/or budget. For instance, dusk (also called the blue hour) always adds drama to your completed project images. Removing vehicles, working with landscaping schedules and adding seasonal elements are other ways to improve final results.

Often, architects prefer models in their completed project images as they design spaces to be used, lived, worked and played in. Models also show the sense of scale. Both aspects are valuable to project images. On the other hand, builders and construction firms often don’t consider or require models, and would rather feature the quality of their construction, letting the details stand alone.

The time and effort necessary to find volunteer models versus hiring professional models is worth it. For example, think about asking friends of the firm, employees, staff and even their children.

Managing model releases, wardrobing and shoot date coordination all take time; typically, a client will handle those aspects. (I typically provide clients wardrobe guidelines.)

I also help clients understand that adding people will add time to the shoot. Because we’ll need to art-direct the models, more shots need to be taken to ensure they are posing and setting the scene properly. For example, are the models facing in the right direction? Can we see the model walking or sitting next to another model?

Check out my infographic to see how building your photo shoot can add time and cost here.

My approach to project photography is about quality, a “less is more” philosophy.

When a potential client asks me to quote 30 shots in an 8-hour day, we need to take a step back and discuss expectations. My business model and deliverables are quality over quantity. To learn more, check out this video I made on how a photo shoot day is planned.

Most projects require about 5-10 shots to truly tell an engaging story. Without knowing the details of the shot itself, a good guideline for each setup is approximately 30-60 minutes. That means 10 shots could take up to 10 hours, not including breaking down and setting up the gear, and work breaks. Night photography takes even more time; most dusk shots can produce 1-2 strong images at blue hour, if you’re lucky.

Value comes from a clearly defined shot list that is prioritized based on a client’s needs. From the shot list, the photographer can ensure that the most important, must-have images are captured as a priority so the budget stays on track.

If time allows, your photographer can consider adding lower-priority views. In the industry, we call this practice the “80/20 rule.” It allows the photographer to flex his or her artistic skills to a client’s benefit.

Think of it this way: 80 percent of the shots are the must-have images; 20 percent of the shots are nice-to-have, creative-type mood shots, detail views or non-essential shots. As the client, you’re getting 100 percent of your shots—the essential shots—and then some. Often, clients buy these non-essential shots that I offer in their proofing gallery following our photo shoot.

I get this question a lot: how long will our photo shoot take? To answer it, I created a simple timeline infographic here to illustrate it.

Now that smartphones and affordable DSLR cameras have flooded the market and are financially accessible, many amateur photographers buy a camera and hang out their shingle as “architectural photographers” (when they probably are not, or else they’ve added this specialty to a laundry list of subjects they can shoot to stay in business).

But just as an oven does not make a chef, a camera does not make an architectural photographer. Project management, a specialized area of focus, field experience and technical knowledge, speak to the level of the professional you hire and trust with your successfully completed project imagery.

Read my popular article on How to Qualify & Hire a Pro to be sure you’re talking to someone who specializes in what you do (not in baby portraits).

Summary

It matters that you have a great client experience working with a professional architectural photographer. A quality approach is worth the time and effort it takes to deliver quality results.

Showcasing the key accomplishments that will continue to grow your firm begins by effectively telling your success stories.