Now that I study it, the dirt isn’t doing the image any favors. I’ll probably make some changes, so I’ll address that. The fence will probably go.
the composition is bothering me, if you shuffled a bit to the right you will give the building a bit more breathing space, see the front door and lessen the impact of the fence cutting you off from the entrance, rather it will then lead you into the view.
I agree. They gave me a new site plan, late, and it had a fence. If I had the plan earlier I would have chosen another view. I only modeled what can be seen, so I’ll have to model more if I move the camera. They approved the gray scale view.
I think it needs a little bit more colour. Especially in the trees and the roof
The trees did come out dark. I even brightened them up in PS.
Looks good. Only gripe I’d have is that the greens in the background and to the right of the image are a bit dark-ish.
Same remark; I would also desaturate the fence a bit but that’s probably not what the architect wants.
it did get a little gloomy back there, didn’t it? I can fix that in post, I think.[quote=“radiosity1980, username:radiosity1980”]
Looks good. Only gripe I’d have is that the greens in the background and to the right of the image are a bit dark-ish.
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This one was funny (in a tragic sort of way). I sent the first render and they spent a week moving things. Today, I got a call that they want the original one back (but with the newest fence, but now they want it white); “it was perfect!”
This, to me , is why you have to charge a reasonable price. If I would have sold myself short, I would get frustrated, and so would they. I generally give people a week of my time, so they can run me in circles all day, but when the time is up, it’s up. I generally get feedback that I was extremely easy to work with. Had I charged for just a picture, it would have been 2 days worth of work, so if it takes longer, I lose. Now, if it’s perfect on the first go, it is a win-win.
We went back and forth, but it is done. I think it could be a lot better; it was client driven, and they are happy. I really need a good, yet simple, contract. They had an opportunity to review and approve the gray scale model, which I sent as a proof, but they kept making changes up until the end. An example would be the light over the garage door. That light was scaled from the reference image they sent, which was the architects SketchUp model. I knew it looked huge, but they never questioned it, at least not until it was way too late. I made a lot of changes, but stopped the madness at that. After all the bending, it almost ended on a bad note, which is what I don’t want. Had I had a contract, it would have been nothing personal and I would have charged for my time. Or, at least waving my fee and doing it, which would be a good client relationship thing.
The real estate person, who was great to work with, was calling all the shots. Once the project was done, or so I thought, she said it was time to show it to the other partners. At that time I knew I was in trouble. It’s not her fault, it’s mine for poor communication, which is why I need the contract. I want a contract which isn’t pages of gibberish, any tips?
I think it looks great honestly, not every image is a portfolio piece that you get to call all the shots on. I wouldn’t get too discouraged, main thing is that the client is happy.
For the contract, there were a few posted a long time ago on I think it was CGArchitect forums. It was a very simple 2 page contract. You can add/modify it to suit your needs quite easily I believe but it was a good starting point. I would just search in “the business of visualization” section I am sure it will come up.
I have one, but I don’t use it. I’ll have to did it up, update it and use it. Thanks for the encouragement.
Happens all the time. I like to call this “chasing the Polaroid” because back when I shot large format studio photography I would shoot the first Polaroid (no digital, you see…) and then they would art direct things around left and right, lighten this, darken that, move this, move that. Then around 4pm they would look at all the Polaroids we shot along the way and see the first one only to say, “This is what I want!” I would think to myself, “I knew that at 9am when I made that perfect version to begin with.” Then we would have to re-do everything, moving everything back and relighting to the original Polaroid… Chasing the Polaroid. Sure is easier nowadays with the ability to save multiple versions, or even cheaply shoot multiple versions with digital cameras.