Architects, developers, editors, and producers who have commissioned aerial work or licensed archive footage share what it was like to work together. No inflated claims, just the practical side of flying, editing, and delivering images that hold up in print and on screen.
A few notes from architects, editors, and developers who commissioned aerial work or licensed existing series. No fabricated numbers here, just the practical side of the process.
"We needed a precise record of a coastal site before planning approval, and the flight plan was shared with us days in advance. The final set included notes on tide times and wind, which made our internal review much easier. The images were sharp, well-graded, and delivered exactly when promised."
M. van der Merwe
Architect, Cape Town studio
"Licensing a series for a print feature meant we needed the original captures and a clear breakdown of usage rights. The process was straightforward: a detailed invoice, the correct files, and no ambiguity about where the images could appear. The aerial perspective on the salt pans gave the article a visual anchor we could not have achieved otherwise."
L. Nkosi
Picture editor, travel publication
"The documentation of a new development site was handled with care for both the schedule and the surrounding community. Flight permissions were sorted well ahead of time, and the editing flow in Capture One was explained in the handover notes. We have since used the same set for a proposal and a public presentation."
R. Botha
Development manager, Western Cape
Recent commissions and licensed work
Straight answers about how aerial shoots work, what affects the final images, and what you need to prepare on your side.
Yes. Before any shoot I check the airspace classification for the area, submit the necessary flight notifications, and confirm whether a remote pilot licence or additional permissions apply. For sites near airports or restricted zones, I factor in extra lead time so there are no surprises on the day.
Wind speed, light angle, and heat haze are the main variables. I usually scout the location beforehand and plan flights for early morning or late afternoon when shadows add depth and the light is softer. If conditions are not right, I will tell you rather than deliver mediocre frames.
For most projects I fly a full-frame drone and carry a medium-format camera for ground-level shots that need extra detail. The choice depends on the final use: large prints, editorial reproduction, or web. I will match the equipment to your deliverable so you are not paying for resolution you do not need.
Every image goes through Capture One for colour grading and Photoshop for retouching. I keep the edits natural, preserving the documentary character of the scene. You receive a first selection within a few days, and we refine the final set together until it matches the brief.
Yes. Several series are available for editorial and commercial licensing. Tell me the context, the territory, and the duration of use, and I will send you the relevant frames along with the licence terms. Usage rights are always discussed openly before any agreement.
A clear idea of how the images will be used, access to the property or site, and any specific angles or details you want covered. If the project is for an architect or developer, site plans or reference images help me prepare a shot list that saves time during the flight.
Have a specific brief in mind? Get in touch and I will walk you through the process.