Re: CM challenge for an architectural photographer
Re: CM challenge for an architectural photographer
- Subject: Re: CM challenge for an architectural photographer
- From: Jim Sims <email@hidden>
- Date: Fri, 10 Dec 2004 13:24:54 -0800
Since you did not preface your question with "money is no object",
my suggestion, the easy/smart solution for the photographer -get a new
client.
It is an insanely unrealistic cost/value proposition and it is more
likely
an expression of a passive/aggressive neurosis in the client.
Seriously, the variables are cruel and then the final arbiter of
accuracy
would be the fiend who made the demand. I started in photography
copying art for a gallery that handled originals of major Pop and
Abstract Expressionist artists (Jasper Johns, Morris Louis, etc), a
reasonably
accurate representation was expected, not absolute fidelity. These
pieces were worth more than several homes combined. Later on I shot
the architecture of Philip Johnson, I. M. Pei, and others for a major
developer
to be used in leasing brochures. I never heard such an expectation
from them.
I'm mentioning these only to give some context to my remarks.
I once had a client ask repeatedly why I had not shot the front end of a
gigantic tunnel boring machine WHILE it was in operation hundreds
of feet underground. Its true.
I suppose this isn't what you were hoping for as a response, and I
obviously
have some unresolved issues with demons disguised as clients…
An appropriate Texas saying for situations like this, "this toolbox has
wheels",
But, if the client will gladly pay whatever it costs -no problem.
First you'd want to characterize the color acuity of the client in the
room to be shot.
Regards, Jim Sims
On Dec 9, 2004, at 7:59 PM, Dennis Dunbar wrote:
A photographer asked me today how to solve a problem he's run into a
few times when shooting interiors for architects. Here's the
situation: he shoots 4x5 film, scans it and then does any necessary
retouching before printing the image on an Epson 2200. The client
wants the colors on the prints to match the colors of the actual walls
etc. in the room he's shooting.
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