{"id":2073,"date":"2026-05-11T22:41:24","date_gmt":"2026-05-11T22:41:24","guid":{"rendered":"https:\/\/www.aiadallas.org\/columns\/?p=2073"},"modified":"2026-05-14T16:20:54","modified_gmt":"2026-05-14T16:20:54","slug":"can-we-shoot-the-rendering","status":"publish","type":"post","link":"https:\/\/www.aiadallas.org\/columns\/can-we-shoot-the-rendering\/","title":{"rendered":"Can We Shoot the Rendering?"},"content":{"rendered":"\n
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Ok\u2026this one might be a little contentious. If you\u2019re the non-collaborative type, now would be a good time to stop reading and find a cozy, solitary corner to curl up in your black cape to read Fountainhead<\/em> again. Having been a design director in a past life, I can say this a little tongue in cheek, especially given that a few of my peers had taken to calling me \u201cMiranda\u201d during the latter part of my design career.<\/p>\n\n\n\n

\u201cSo, what\u2019s contentious,\u201d you ask, \u201cabout shooting the rendering?\u201d <\/p>\n\n\n\n

You may not realize it, but \u201ccan we shoot the rendering?\u201d is likely your favorite photographer\u2019s least favorite phrase. I asked this question to some of the industry\u2019s most decorated architectural photographers from the American Society of Media Photographers.\u00a0<\/p>\n\n\n\n

It starts with the obvious: reality.<\/strong><\/p>\n\n\n\n

Lauren Davis, associate photographer for Feinknopf,<\/a> describes shooting a hotel in downtown Chicago for a client who requested that a beautiful rendering be recreated. \u201cThe remake of that rendering could only have happened if your drone was essentially located in the middle of the hospital across the street. Explaining to my client that an entire building was in the way was a new one at that time.\u201d<\/p>\n\n\n\n

Jeffrey Totaro<\/a> adds, \u201cWhen I hear \u2018we want the rendering shot\u2026,\u2019 particularly for exteriors, I like to ask, \u2018Well, did you include all the overhead wires, the half-dead trees that weren\u2019t replaced, and broken-down orange El Camino out front?\u2019 Much of which can be solved by AI these days. This is my \u2018Truth in Rendering\u2019 campaign (I have hats and t-shirts). In these cases, I feel like the photo can be let down from the near-perfect rendering. The whole project team has been looking at that rendering for two to three years, and then the photo may not look as nice since the good brick and good windows were VE\u2019d out and what\u2019s left isn\u2019t as exciting perhaps.\u201d<\/p>\n\n\n\n

It\u2019s easy to forget that photographers are working with much more than an isolated finished design. We\u2019re constantly navigating difficult site constraints, furniture, sun path, and even punch list items to ensure that your project remains the focus. Not only is composition critical, but also timing. I personally shot a project last year when, during the site walk, we discussed an angle for the reception desk that decreased the direct view of the exterior. When we came back to that shot at the specific time I thought was appropriate for the angle, the designer wanted a direct shot toward the glass at the exact time of day when backlighting from the exterior was most severe. We got the shot, but it\u2019s still my least favorite from the set.<\/p>\n\n\n\n

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Have you ever considered what makes you stop on an image?<\/strong><\/p>\n\n\n\n

The design being presented is only part of that equation. The way it is presented, the image itself, composition, density, light, and so on are equally important. In an era of unprecedented image saturation, \u201cshooting the rendering\u201d may not be good enough.<\/p>\n\n\n\n

According to Petapixel, the number of photos taken this year will exceed 2.1 trillion. That\u2019s 5.3 billion photos taken daily. While commercial photography represents a small percentage, you can extrapolate the quality required to make an image memorable or worthy of pause during a weekday coffee scroll of Instagram.<\/p>\n\n\n\n

The interesting part for those of us behind the lens is that we\u2019re finding that the traditional \u201chero shot\u201d may not be the \u201chero shot\u201d anymore. Often, it\u2019s supplanted by a tighter frame or an image that distills the project without telling the entire story. Which brings up another point.<\/p>\n<\/div>\n\n\n\n

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Vladem Museum, Santa Fe, NM, captured during Santa Fe Workshop with Nick Merrick by Stephen Walsh, RW Collective<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Bank OZK, Dallas, TX. Captured for HKS by Stephen Walsh, RW Collective<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Good stories don\u2019t start with the punchline; they unfold.<\/strong><\/p>\n\n\n\n

While many renderings are composed as hero shots, they are also a product of efficiency. We need to show as much of the design as we can in x number of renderings to fit within x fee schedule. This can push the view toward what Nick Merrick of Hall + Merrick + McCaugherty<\/a> calls \u201cwide-angle abuse.\u201d I liken it to coughing up the entire design at once. It\u2019s not always wrong, but there\u2019s often a more elegant solution.<\/p>\n\n\n\n

Great architectural photography tells the design narrative through discovery and point of view. For this to happen, the designer must let go and let the photographer explore. That means a variety of compositions and focal lengths that result in shoots that read from macro to micro the same way architecture does.<\/p>\n\n\n\n

Brad Feinknopf expands on this. \u201cDo not give me a plan with a bunch of carrots in the corners of where the shots are, as it\u2019s almost never where the shots are. Let me know the spaces you want (to shoot), and we will figure out where the shots are in those spaces.\u201d<\/p>\n<\/div>\n<\/div>\n\n\n\n

This doesn\u2019t mean collaboration isn\u2019t part of the process. I think most of us appreciate the collaborative storytelling that happens with the client versus without. This same healthy tension occurs in a studio charette or critique, one where radical candor sets the tone and the best solution rises to the top.<\/p>\n\n\n\n

Feinknopf describes a relationship he\u2019s had with a \u201cdear friend and client\u201d he\u2019s worked with for over 30 years, \u201cThere is a bunch of friendly banter, but he is a very good designer. We rarely see eye-to-eye on shots. He often says, \u2018Brad, the shot is from here,\u2019 to which I reply, \u2018Jon, no, it\u2019s not. It\u2019s from here.\u2019 Often, I do it both his way and my way to convince him that I know more about taking photos than he does. He ultimately comes around with much protesting. That said, he is always gracious when he wins AIA awards and always gives me a great deal of credit for his winning so many awards. Many years ago, I was on a shoot with him and an assistant who had never worked with him. Jon was walking around the project saying, \u2018I don\u2019t know why I work with this photographer. He has no idea what the hell he is doing.\u2019 My assistant said to me, \u2018Why do you work with this asshole?\u2019 I explained that this was Jon just chiding and having fun with me. He definitely didn\u2019t feel that way. I would poke back with, \u2018I certainly could be filling my time with shooting something better than this shitty project.\u2019 It’s good when the friendship supersedes the work. It can be fun and collaborative, though there may be teeth pulling.\u201d<\/p>\n\n\n\n

Feinknopf has a quote in his signature line that sums up his view of our roles as photographers:<\/p>\n\n\n\n

\u201cPhotography is more than a medium for factual communication of ideas.  It is a creative art.”<\/em> – Ansel Adams<\/p>\n\n\n\n

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Officeworks, Nashville, TN. Captured for Gensler by Stephen Walsh, RW Collective<\/figcaption><\/figure>\n\n\n\n

Point-of-view is powerful<\/strong>.<\/p>\n\n\n\n

On a recent trip to Santa Fe, I took a five-day workshop with Nick Merrick. Prior to founding his own firm with partner Steve Hall and new partner Kendall McCaugherty, Merrick was a principal photographer for Hedrich Blessing, a photography studio credited with starting the practice of architectural photography that has produced an incredible lineage of photographers. Merrick photographed the Burj Khalifa for Adrian Smith at SOM, if that gives you any indication of the caliber.<\/p>\n\n\n\n

It was a joy to listen to Merrick tell the story of Bill Hedrich and Frank Lloyd Wright\u2019s Kaufmann house<\/a>. Hedrich stood in waders in a stream, capturing one of the most iconic images of any structure ever taken. When delivered, Wright called the image \u201ca little acrobatic.\u201d Maybe he hoped for an image that conveyed a more seamless integration with the landscape than one that read as a feat of architectural and engineering prowess. That image grew on Wright over time, especially after it received national press and helped coin the name \u201cFallingwater\u201d for Wright\u2019s commission. Had Wright not given Hedrich the creative autonomy to make the images he thought best conveyed the project, that image may never have been made.<\/p>\n\n\n\n

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So, how do you get the best results?<\/strong><\/p>\n\n\n\n

You get the best results the same way you do with design: communication, collaboration, and trust. Teams complete projects together\u2014fold your photographer in as a part of your team, as a specialist in visual storytelling. Let them know how the project took shape, the concept, and what is important to you. Quit showing up at the shoot without providing the backstory in advance. We have more tools and more opportunities to collaborate than ever. We have laptops and dedicated iPads for the client to view the frame and help place furniture, objects, and people. We have drones that provide unprecedented viewing angles. Yet, even with expanded opportunities and better tools, time is still finite. Give your photographer enough time to explore. 10 to 12 great images are better than 20 okay images. As a design leader, I used to tell my designers that we have two budgets: project budget and project fee. We should spend both in the right place. It reminds me of another quote from Nick Merrick that I\u2019ll paraphrase, \u201cI don\u2019t shoot restrooms.\u201d<\/p>\n<\/div>\n\n\n\n

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Spectrum Center, Addison, TX. Captured for Gensler by Stephen Walsh, RW Collective<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Special thanks to the following for their dialogue and contributions to the article.<\/strong><\/p>\n\n\n\n

Nick Merrick, https:\/\/www.hallmerrick.com<\/a><\/p>\n\n\n\n

Brad Feinknopf & Lauren K Davis, http:\/\/www.feinknopf.com<\/a><\/p>\n\n\n\n

Jeffrey Totaro, http:\/\/www.jeffreytotaro.com<\/a><\/p>\n\n\n\n

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All images provided courtesy of Stephen Walsh and Maria Ramirez-Walsh, \u00a92026 RW Collective LLC.<\/p>\n\n\n\n

https:\/\/www.rw-collective.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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