International Illumination Design Awards
Images - Those Doggone Pictures!
The pictures submitted on your CD are the main way your lighting design is judged. Often project photos are already prepared, as client records, sales tools, etc. In that case, assembling a set of images means no more than picking and choosing.
Where suitable photos are not available, many have shots made by professional photographers. If you go this route, be sure that your photographer is experienced in photographing lighting. a guideline in hiring photographers
Many successful entrants take advantage of the simplicity and power of modern digital cameras, and take their own. See Taking Your Own.
However obtained, images submitted become the property of the IESNA, and may be used for publication, or for educational or IIDA promotional purposes. We cannot, therefore, accept professional images without a signed release from the photographer, either on the entry form or as an identified attachment.
Caution!! Artificial fill light (flash or supplementary floods) may not be used in taking photos. If the judges detect the use of fill light, the project will be automatically disqualified without judging. Fill light includes daylight - take your interior shots after dark. Exterior shots taken in deep twilight may be acceptable, but those take in full daylight will not be considered. Even if your entry involves daylighting, the images must show the project under artificial light.
Remember, the images are your best tool to describe your work. Submit images that tell your story. And remember, the judges want to know how you did it. Let them see the luminaires - types and positions.
Working with Professional Photographers
Fees will vary from photographer to photographer, and will depend on the nature of the services provided, and often on the use to which the images are put. You should review your requirements carefully, before you sign a purchase agreement, to avoid any possible misunderstandings. No two photographers have the same fee structure, but some factors which may affect cost include:
- Distance of the studio from the site Is travel time chargeable? Mileage?
- Does he offer a half day rate? An hourly rate?
- Will he do twilight or night shots? Weekends? Are these at the same rate as normal hours?
- Is he experienced at shots involving multiple light source types? Incandescent, fluorescent, HID and daylight sources each affect film color differently. If they are not properly compensated, the slide will be misleading, or at worst, grotesque.
- How many shots will he take, on the average, per half day, or per day?
- Does he charge for each separate use made of his work?
- Remember, the IESNA will, by your entry, acquire certain rights to the images submitted!
- Do they require, or even prefer, by-line credit?
- And do ask for references for lighting photography from design professionals.
Talk your requirements over with your photographer. Be honest with yourself and the photographer as to your needs, and you will avoid misunderstandings and unanticipated costs or delays.
To assist you in this process, we have provided a partial list of professional photographers specializing in lighting design. (The IESNA- Philadelphia offers this list as a service, and receives no fee for any listing. This list must not be considered as including all suitable photographers within our service area.)
Taking Your Own Photographs
Many do take their own photos, and modern digital cameras make this a lot easier and cheaper than in the past. Still, photographing architectural lighting can be tricky, so unless you are a skilled amateur, be prepared to try a few times before getting something that looks like the job you did. A few hints:
- The rules require that photos be taken with a minimum 5 megapixal camera.
- To get good color no matter what the light you will need a filter. These are inexpensive and readily available as attachments that screw onto your camera lens. Obtain the recommendation of a reputable camera store, after explaining the light source that you will be using, or buy one of the handy Kodak how-to books sold at most camera shops. If you must photograph mixed sources, consider using a professional.
- The "automatic" setting on your camera may not give you the results you need. You may wish to experiment with other settings. And built in light meters can be easily fooled by a small bright area. Focus it on the area of interest, and shield it from glare sources.
- The camera is nowhere near as good at contrast as your eye. Try to compose your shots so that the field of interest is of relatively uniform brightness. Where you can't, set your exposure for the area of interest, and recognize that brighter areas will be washed out, and dimmer areas black or muddy. And don't shoot into the sun, or any other bright source. Glare is glare.
- Compose your shot so that the slide shows your work. Your brain edits a panorama or a cluttered background automatically; the camera doesn't. Show what is special about your work. Be sure to show how it was lighted. Don't make the judges guess.
- To shoot a small space, consider wide angle lenses (often the best solution), as well as shooting in through a doorway or window, or using a mirror to peek around a tight corner.
- DON'T USE FLASH OR OTHER AUXILIARY LIGHT SOURCES!
- Give yourself time. Experiment, learn from your mistakes and try again. In the end, you'll be the expert.
[top]