Two days before the shoot, I checked the weather.
Fog. Rain. Maybe some sun… maybe.
After months of planning, a ferry schedule to work around, and two days carved out of my photographer’s calendar, I was frustrated. For a site this remote, there are no do-overs. I assumed the weather would undermine the whole thing.
I couldn’t have been more wrong.
The Setup
The Outpost is a project on Isle au Haut—a small, rugged island six miles off the coast of Maine. There’s no bridge, no easy access. Every-one and every-thing arrives by mailboat.
We planned two shoot days: one for afternoon light and evening shots, and one for early morning. The forecast held true: grey and fog on day one, broken clouds and a bit of sun on day two.
In any other context, that might have been a compromise. But for this site—a place where weather moves fast and unpredictably—it ended up telling a more honest story. Why should I have expected anything BUT changeable weather? These were the conditions that we fought for the years it took to finish the project.
How fitting indeed!
Letting the Photographer Lead
Trent Bell and I have worked together on multiple projects. He trained and practiced as an architect before turning to photography, and he brings a designer’s intuition to every shoot. More than that, he shows up with his own creative process.
When we arrived, he walked the site—alone. No notes. No direction from me. Just him and his camera.
In that first hour, he moves fast, testing vignettes and collecting ideas. Once he’s gathered enough, we sit and review them together. That’s when the real shoot begins.
I carry months of site visits, revisions, punch lists. He brings a fresh perspective. That distance allows him to see things I can’t.
An unexpected Result
One shot from the Outpost has become the anchor of the entire narrative: the dining room, facing the open Atlantic.
The image of the dining room, facing the open Atlantic has become my favorite for the whole project narrative. And what I love about it is: I wouldn’t have taken that shot. Trent found that frame, in that moment, and it came from his lens, not mine.
As designers, we bring too much baggage into the space: we see every flaw, every compromise. We know the story we meant to tell. But that context can get in the way of actually telling it.
Hiring a professional means handing off that story. It’s what we ask of clients: trust the process, invest in the result, let someone else do what they do best.
Most design professionals Document too late
Some skip it entirely. Others approach it too casually snapping a few photos after move-in, rushing through it solo, or outsource it to someone who doesn’t understand the project.
When you’re running a lean business, photography can feel like a luxury you can’t afford. And, when you're juggling multiple projects, clients, contractors and trying to keep the business side operational, documentation rarely feels urgent.
Here are some real facts to help change your mind.
What It Really costs
Project: The Outpost, Isle au Haut, Maine
Photographer: Trent Bell
Shoot Duration: 2 days
Weather: Day 1 – fog, Day 2 – sun (this combination turned out to be ideal)
Deliverables: 30 edited + licensed images
Total Cost: ~$10,000
That’s not a small number. But here’s what that investment returned:
ROI Breakdown:
Awards: 2025 Maine AIA Merit Award for Design Excellence + the 2025 People’s Choice Award
Press: Multiple features in progress (print + digital). When you enter a competition you’re opening your business up to free press (+ backlinks)
Client Leads: Inquiries from aligned, serious clients
Ongoing Use: Portfolio, pitch decks, media kits, specs, YouTube, social posts, and course content
All of that made possible by just a few well-composed, well-edited images.
Best practices I follow:
These are the practices I now follow every time I shoot a project:
1. Plan early
Don’t wait until after the client has moved in. Schedule the shoot as part of your project timeline. Better yet—negotiate it into your design agreement. This gives you control over how your work will be seen.
2. Budget realistically
A full shoot—including travel, shoot days, editing, and licensing—typically costs between $5,000 and $15,000+. It’s not a throwaway line item—it’s marketing, recruitment, sales, and brand building rolled into one. Done well, it pays dividends.
NOTE: Keep reading if this isn’t in your budget (yet). There are other DIY solutions you can leverage.
3. Be on site
I attend every shoot: to move furniture, adjust styling, point out frames I’m interested in capturing. I’m not directing, this is a collaboration like everything else in the design process.
I recall a time during a shoot where I suggested he recover the highlights in the sky behind the building we were shooting and he replied, “That’s going to look very unnatural. We’re looking in the direction of the sun, the sky SHOULD feel washed out, that’s how you actually experience it.” He obliged as a test and we compared the two versions. You can probably guess who was right!
4. Hire an Interpreter, Not a Recorder
A good architectural photographer doesn’t just “capture” a space. They interpret what’s there. They know how to edit (we spend most of our time composing a shot by removing things). They understand composition. And they know the audience. Trent trained as an architect before picking up a camera and it shows (case-in-point his love for one-point perspectives!)
5. Put the work to work.
One shoot can drive your marketing for years: awards, press, website updates, social content, email, course material, client proposals. These images do quite a bit of heavy lifting in your business.
6. Fix it in post
Despite your best prep, not everything will align with the story you want to tell. We removed several pieces of artwork in post for this shoot, we removed outlet covers, smoke detectors, and minor details that felt cluttered. Sure, they’re a reality of the built world, but they can be distracting in an image. Landscaping’s another common one. Trent’s editor, Tim, cleaned up more than a few rough patches. You’d never know. Just get the composition correct in camera and clean the rest later in post. Tim, hates that expression BTW, but he’s really good at it.
7. Lifestyle vs. Architectural
Architectural shots capture form and structure—the kind juries and outlets like Dezeen or GA Houses prefer. Lifestyle shots, on the other hand, create mood. They’re what Dwell, AD, or The Modern House look for… sun on the floor, pets (some really love pets), a mug on the counter, the space being lived in. For The Outpost, we planned for both just for coverage.
DIY Camera Gear
Just Starting Out?
Not every project warrants—or can support—a $10K+ photo shoot. But that doesn’t mean you have to rely on phone photos or skip documentation altogether.
There’s a spectrum between DIY and full-service. I’ve worked every part of it.
When I completed my studio in 2016, I hired Trent for my first paid shoot. At the time, I couldn’t afford a full day, so I negotiated a half-day rate. I also purchased a limited number of final images. Most photographers charge a per-image retouching fee, so I was selective—choosing only the compositions that told the core project story. To round it out, I filled in with some of my own detail and interior shots for coverage.
You can build a strategy like that too:
If You’re on a Tight Budget:
Negotiate a half-day shoot. Focus on a few hero shots.
Buy fewer images. Select only those that best represent the design.
Supplement with your own photos. Wide shots, details, context… these can complement the pro work.
Style it yourself. Bring props, clean thoroughly, prep every space.
If You’re Doing It Yourself:
Buy, or borrow a good camera (see my recommendations here.)
Partner with a peer, two will make this job much easier.
Scout the natural daylight + spaces ahead of time. Use Sunseeker to plan the shoot to see where and when the sun angles will be best.
Create a shot list beforehand - think wide, medium, and close. Lifestyle + architectural.
Tip: Capture photos of the space before moving the client’s personal effects, this way you can put them back exactly as before.
Bring styling props (see the checklist below for a few ideas)
Capture as much as you can in a full day. Go early, leave late to get both morning and evening light. I typically shoot exteriors at either end of the day, and focus efforts on the interiors during flat mid-day light.
Edit your work in Lightroom. Even just a light editing (fixing keystoning, white balance, contrast) can elevate your work above those who just took shots on their phone.
These projects often take years from idea to completion and this will form part of your permanent body of work, your portfolio. The quality of your documentation shapes how people perceive your work.
And, most people will never be able to visit your project. They'll only ever see the image. That single frame might be the reason you get the next job—or the reason you don’t.
So treat it with the same care you brought to the design. Budget for it, make a plan for it, and participate in the final part of the design process: documenting it.
If your work is worth doing, it's worth showing well.
Defender vs. Cedar
30X40’s Photo Shoot checklist:
I create these checklists in Notion, feel free to cut and paste into yours!
General
Yeti GoBoxes (to store everything)
Drinks/snacks
REMEMBER: On-site, take staging shots of all rooms to return furniture + effects correctly
Cleaning + Maintenance
Coordinate with client a cleaning a day or two before (we typically cover the cost)
Windex + paper towels (windows always need touching up)
lint roller (furniture, bedding, clothing)
duster
trash bag (helpful for moving clutter)
Gaffer’s/painter’s tape, safety pins (for holding things)
removable wall hooks (3M Command) for hanging temporary artwork, etc.
Styling:
Neutral throw pillows
Baskets (as needed, great for hiding cords)
slippers / boots (verify w/ client)
Black stones in dish
wooden broom
fruit
flowers (unusual are best, avoid: sunflowers, orchids, roses)
coffee table books + magazines
Binoculars (other relevant gear to set the scene)
furniture (pre-survey site to determine what’s needed)
pillar candles
Oil lamp (choose unique effects, vintage pieces are perfect)
wool blanket (Swan’s Island Co.)
deer antlers
Aalto vase(s)
kindling bundle
water (glass bottles)
artwork (survey what’s available)
Consider Room Specific Styling:
Study / Office
desk accessories
iPad + kiXstand
sketchbook + pencil case
Mudroom + Entry
jacket
tote bag
river rocks for styling
Kitchen (see my kitchen makeover for links)
butcher’s twine / string
black grid cutting board
Ferm salt + pepper shaker
Orskov glasses
mugs
herbs
hand towel
linen napkins
Ferm bottle opener
Wine
Beer (Maine Beer Co. on-brand local styling)
Bath
white towels
hand soap
bar soap + dish
wooden toothbrush
Aesop shampoo
Beds
Nightstand effects
throw
books
slippers
Garage/Barn/Utility
Garrett Wade tools
leather pouch
canvas tote or toolbag
Client Prep:
Photo release
Communicate arrival + departure times
Clean house (see above)
Woodstove prep (glass clean, firewood on-site?)
Follow-up: handwritten thank you note
Review list above to minimize what we need to bring:
Indoor scouting shots (verify furniture, shades, etc.)
Linens/towels? What’s available?
Outdoor furniture?
Prep them for what’s to come that day
Best results come from letting the photographer do their work independently, so not on-site if possible
We will be moving a lot of your stuff, but we’ll put it back (document via staging shots)