Behind the scenes of a photoshoot for a local design magazine
A finished interiors photograph can appear effortless: a sunlit room, a carefully placed chair, a vase at exactly the right angle. The image may suggest that the space simply happened to look this way when the camera arrived. In practice, a design magazine photoshoot is a layered production involving preparation, observation, problem-solving and a close partnership between the photographer, stylist, writer, designer and occupants.
For a Perth-based editorial platform such as Contemporary, the process also carries a strong sense of place. Western Australian homes, studios, hospitality venues and public buildings have their own light, materials and rhythms. Capturing them well means responding to the environment rather than forcing every project into a fixed visual formula.
The most compelling images are usually built through small decisions. A curtain is opened by a few centimetres, a bowl is moved away from a sightline, or a camera is lowered to reveal the relationship between joinery and floor plan. These adjustments preserve the character of a project while making its design logic legible to readers.
Before the camera arrives
The photoshoot begins well before the equipment is unpacked. An editor or photographer will review the project’s drawings, previous images, material palette and key design ideas. A site visit, when possible, helps establish how daylight travels through the rooms and which spaces deserve the most attention. It also reveals practical details that may influence the schedule, including narrow access points, reflective surfaces and sensitive finishes.
The brief is shaped around the story the publication wants to tell. A compact coastal home might be photographed through its storage solutions and connection to the landscape, while a workplace may need images that explain circulation, collaboration and acoustic comfort. This is where editorial photography differs from a purely commercial shoot: the goal is to communicate the thinking behind the design, not simply to display attractive objects.
Weather is a particularly important consideration in Perth. Strong afternoon sun can create dramatic shadows but may overwhelm pale interiors, while an overcast morning can provide a soft, even quality that suits textured materials. Photographers often build flexibility into the call sheet, allowing the team to move between interior and exterior scenes as the light changes.
Reading a space through the lens
Once the crew arrives, the first task is rarely to start shooting. The photographer walks through the project slowly, considering sightlines, transitions and the sequence in which a viewer might experience the space. A wide image can establish the architecture, but a tighter frame may reveal the junction between stone, timber, plaster and metal more effectively.
Camera height has a major effect on the way a room is perceived. A low position can emphasise a strong floor plane or a sculptural piece of furniture. A higher viewpoint may clarify a kitchen layout or show how a dining area relates to an adjoining courtyard. Perspective correction is also carefully considered, particularly in rooms with tall cabinetry, strong verticals or complex built-in elements.
Photographs work as a set rather than as isolated objects. The opening image may offer a generous view of the project, followed by details, portraits of individual rooms and images that connect the building to its neighbourhood. This visual pacing gives the reader both orientation and discovery, mirroring the experience of moving through the finished space.
Styling without losing authenticity
Styling is often misunderstood as decoration added for the camera. In a thoughtful editorial shoot, it is closer to editing. The stylist removes visual noise, groups related objects and makes everyday functions visible without making the home appear staged beyond recognition. A kitchen might be shown with ingredients, cookware or a vase of local foliage, but every element needs to support the atmosphere and use of the room.
The distinction between lived-in and cluttered is delicate. Personal books, children’s objects, art and collected pieces can give a project its identity, yet too many competing details may obscure the architecture. The team usually works by subtraction first, then introduces a small number of considered additions that relate to the home’s materials and palette.
Material stories benefit from this restrained approach. In a busy family kitchen, for example, the visual character of a work surface is tied to maintenance, ageing and daily use as much as to colour. A close look at butcher-block benchtops can add useful context to a photograph, connecting a tactile finish with the practical choices that shape domestic life.
A working day on location
A typical shoot day is structured but responsive. The team may begin with quiet interior scenes before the sun reaches a particular window, then move to rooms that benefit from brighter conditions. Exterior images are often scheduled around the most flattering light, while portraits and detail shots can fill gaps between larger setups.
Communication keeps the production moving. The photographer explains what is needed from the stylist, the editor records project details and the designer may point out an important material junction or concealed feature. If the occupants are present, their routines and comfort are respected. A good crew understands that people live and work in these spaces; the property is not treated as an empty stage.
Small problems are inevitable. A reflection may appear in a glass door, a neighbour’s car may interrupt a facade view, or a previously unnoticed cable may pull attention away from a composition. Solutions can be simple, such as changing the angle, waiting for a cloud or shifting one object. The strongest teams remain calm because the schedule has room for judgement rather than relying on speed alone.
| Production element | What happens on location | Why it matters editorially |
|---|---|---|
| Site walk-through | The crew studies light, circulation and key viewpoints | Establishes a coherent visual narrative |
| Styling pass | Unnecessary objects are removed and selected pieces are placed | Clarifies material, function and atmosphere |
| Wide compositions | The photographer frames rooms and exterior relationships | Helps readers understand scale and layout |
| Detail images | Surfaces, hardware, joinery and crafted objects are isolated | Shows the qualities that define the project |
| Occupant coordination | Access, routines and privacy are managed respectfully | Keeps the shoot practical and authentic |
| Image review | Frames are checked for focus, reflections and balance | Prevents avoidable gaps during editing |
Capturing Western Australian character
Location is more than a backdrop. The coastal brightness around Dunsborough, the dense urban texture of inner Perth and the warmer tones of regional landscapes each influence how a project is photographed. Materials respond to this context: limestone, spotted gum, recycled brick, corrugated metal and woven fibres can carry associations that become clearer when framed against local light and vegetation.
Residential projects often reveal this relationship through their thresholds. A verandah, breezeway, courtyard or outdoor shower can be as important to the story as the kitchen or living room. The photographer looks for these in-between spaces because they show how architecture mediates climate and everyday life. They also provide visual breathing room between interior photographs.
A compact home can be especially rewarding to document. In a Dunsborough beach shack, every camera position may need to explain more than one function at once: storage, sleeping, cooking and retreat. Images that show these relationships help readers understand how a small footprint can support generous living without relying on visual excess.
From raw files to published story
The work continues after the camera leaves. Photographers typically review hundreds of frames, removing duplicates and selecting images with consistent exposure, strong composition and a useful relationship to the editorial narrative. Colour correction is handled carefully so that timber, stone, paint and textiles remain believable. Excessive retouching can undermine the trust that readers place in project photography.
Image selection also works alongside writing. A story may mention a hidden pantry, a recycled material or a connection to a garden, so the final sequence should give readers a way to see those ideas. Captions identify designers, makers, products and locations, while the article provides the broader context. Together, words and images create a fuller account than either could manage alone.
For emerging architects and designers, publication can make the process of a project visible to a wider audience. It gives a completed building a second life as a case study, reference point and conversation starter. It can also document the contribution of craftspeople, suppliers and photographers whose work is essential but often less visible.
Practices that make a shoot stronger
A successful design shoot depends on preparation, but it also leaves room for discovery. The following practices help protect both the project and the editorial integrity of the final feature:
- Build the shot list around the design concept, then allow time for unexpected viewpoints.
- Photograph transitions between rooms, landscape and architecture rather than relying only on hero images.
- Use styling to clarify daily life while retaining meaningful personal and material details.
- Check reflections, vertical lines, window exposure and background distractions before moving on.
- Record accurate names for architects, designers, makers, suppliers and products during the shoot.
- Review the image sequence as a story, balancing wide views with intimate details and contextual frames.
Photography for a local design magazine is therefore a form of interpretation. It translates spatial experience into a sequence that can be encountered on a screen or page, while preserving the decisions, textures and atmosphere that make a project distinctive. The process is collaborative from the first site visit to the final caption, and every participant contributes to how the work will be understood.
Follow Contemporary’s coverage of Australian architecture, interiors, products and places to see the finished images alongside the ideas, people and material choices that shaped them. Explore the latest project stories and join the local design conversation through Contemporary Wine In Design.
