Sutter Health Medical Lab Livermore, California

I would say 90% of my work involves a pre production scouting to tie down and to address any problems prior to the photo shoot. I this case minimum of 1.5 hours of driving plus traffic.


This is a working facility 24 hours a day, extremely cluttered and lots of coordination on the scouting shots to make this run seamless on the final photo shoot. I had 15 pages of scouting shots, our clients identified our final shoot list, and we set everything in motion. All of our final selections we worked with Sutter Hospital to make everything as clean as possible for photo’s. We arrived at 5:00 am in the morning before we had lots of staff.

You can see on the scouting shots on page 12, this was almost an impossible shot to pull off without pre production and the help of Sutter Hospital. Pretty clean and colorful without taking down all of the paperwork on the machines.


Attention to detail is a must for this kind of work. Turning on the computer and the equipment lights on the right hand side just adds so much color and depth

The same shot as above just moving to get a 3/4 view. What you do not see in the finals is all of the retouching removing the tape on the counters.

I try to keep it simple, add color where needed and accessorize the shot to make it look and feel real.

This is a very clean shots, what you do not see is all of the power cords being removed from the final image.

Basically the same shot as above but let’s move in closer for more of a visual impact

Let’s rotate the camera and shoot an approved shot on our shoot list. Lots of power cords to photoshop out of our final image.

Our final shot we need to shoot from an elevated position. This could be done from a ladder, then you have to secure the camera to the ladder, what I do is bring a heavy duty light stand on wheels easy attachments for the camera support, view finals from a ladder and shoot with a camera release so there is no movement on our final images. It’s a wrap back in the car heading to the studio.

The scouting shots went out to multiple clients to help share in the costs up front and we had three clients share in the final costs and win win for all parties.

I hope you enjoyed looking how you make something difficult easy to shoot.


Ed Asmus

Architectural People Photographer


Zettie Millers Housing

Client: Mogavero Architects

Project: Community Housing, Stockton, California

Sometimes, I just work of a site plan for compass orientations, pre determine the best time to photograph the project and this one has a small budget.

In this case we had great weather for much of the month of October, but on the day I was there, very overcast and not a good day to shoot when you have a gray sky. I shot the best angles but know they would not make to my own standards.

What I wanted was to have the interior lights on as shown in this illustration. What we came up with is we have to pay the tenants to get up and turn on their lights at dawn and re schedule this around having good weather.  November had few shooting days and we are into December which still could work. What has to happen is a good storm to come thru and leave me with a high pressure system for a couple of days. This time of year we face problems with moisture in the glazing and wood for these kind of shots not to mention there is always fog present in some areas. Roll the dice and go, set your standards high, please yourself and my clients will be happy.

Shooting at pre sunrise, when it’s the ideal time to shoot is when we have the interior lights brighter then the outside light. Some things out of my control are the shadows from the street lights and the moisture that is present in the wood paneling at this time of the year. Just plan on coming back at dusk to eliminate the moisture problems and see if we have a sunset.

Let’s run around the grounds to get the lights on because of the motion sensors.

This also needs to be captured from the third floor to be able to see the solar panels. These kind of shots to get the right ambience, it just needs to be done at pre sunrise. Many places to be with a short window, but that’s what I do.

Let’s move in closer to capture a partial view of the community room. I have shots back further but we have moisture in the paneling.

Let’s try to grab the architectural elements in the shot.

Our originals scope of work was just exteriors but after a review of the bad weather shots with the architectural firm they wanted to add an interior to the scope of work.

In order to get some of the colors to pop you have to include some daytime shots to get the colors and contrast of the project.

I think this shows off the architectural design very well. A small budget really allows for one site visit but in order to get the right shots I had to be there pre sunrise and sunset.

You need this view just to be able to show the entire scope of work.

Back at sunset to eliminate the moisture problems from the sunrise. Just not able to get the glow in the windows and the clouds in the right place at the right time.

This was after sunset and this shot would not be possible at sunrise because we would be shooting directly into the sun.

Let’s grab a vertical detail shot. What my clients do not see is all of the retouching to take out the Christmas decorations.


Season Greeting, Ho, Ho, Ho,


Ed Asmus

Architectural People Photographer

916 996.7560


Salvation Army Newark, California

Client: GRA Architects & Diede Construction

Project: Salvation Army Community Center Newark, California

It’s always nice to have clouds, good clear sunlight, and a sun angle which adds texture to your final composition.

I always like a these kind of angles I had to revisit the site because the interiors were not complete, nothing is perfect but set your standards high and please yourself first and I always come home with great images.

Murphy’s Law making my second trip to punch out all of the shots and my money at dusk was all set-up the only thing the exterior light were not working. Not much I can to change the outcome no downlight lighting up the entry or the lights at the cross would have added  a nice highlight on the cross. At least I had the interior lights on that added the warmth to the final image.

This being the first trip where I had to cancel because they were not just ready for final photography. Let’s grab overall views and make the best of the situation, we can use these for finals or for pre production scouting shots to define my shoot list.

I always look for places to frame my shots if possible. I wanted to stage clear, but I had no access to the storage to move the the drums and piano off the stage. I would prefer having nothing on the stage and that would focus more the  architectural design.

A great shot of the lobby and really like the use of the wood in the ceiling, the curves on the walls, it’s just not a straight wall which this has a lot of depth.

My second trip let’s start with the overall views, lucky both spaces were already set-up, some house cleaning and shoot the finals. I like that the architects use of the clearstory windows to let natural light into the space.

Let’s close the partitions and show the set up as an lunchen.

A nice 3/4 view, try to make the stage neat and shoot the final images. This would have not been possible to get this on my first  trip. As a working photographer it is very difficult to have this set up for a final shoot, the tenant was so busy moving into the space that we are generally left alone to get our shots.

It’s always nice to have a kitchen shot, clean the area and accessorize the space with what you have to work with and shoot your finals.

Once back in the space, I see that they added a reception desk, carefully frame the shot, keep your vertical vertical and capture the view.

Let’s pull a detail shot which shows the signage and our little green man in the background.


I hoped you enjoyed my vision into a look at the Salvation Army.


Ed Asmus

Architectural People Photographer





CSUS Dining Hall

Client: Mogavero Architects

Project: CSUS Dining Hall Remodel

This was planned on a short notice with limited access. My contacts at CSUS wanted me to shoot over Easter break when the facility was closed. I got to pick my time and I wanted to be in there first thing in the morning before the light values got to bright outside.

Having to work fast to retain the nice soft outside light values makes these shots really work.

Carefull composition and being there at the right time makes all the difference.

I always look to push strong diagonal lines that leads the viewer into the final composition.

By not having the outside light vales blow out makes all the difference, timing is everything.

Being in here over Easter break means no food or color which works but not exactly what I wanted.  My hands to get tied from time to time, lets see if we can come back and re visit this when it’s open.

Clean excellent sweeping lines the pull your eye into the final shot. This just lacks being accessorized with food and color.

This makes all the difference by having the color, looks alive and colorful. I always try to set high standards and please myself first, then I know my clients will be happy.

Everything works by having the space accessorized.

It’s impossible to get people completely out of your shots in something like this. I always look for a slow shutter speed for a motion blur, this way I do not need a model release.

This shot just makes all the difference by having the island accessorized with food.

I hoped you enjoyed seeing how this all came together.


Ed Asmus

Architectural People Photographer

Natural Food Co Op

Client: Mogavero Architects

Project: Sacramento Natural Foods C0-Op

_q8a9568Pre sunrise is still one of my favorite times to shoot, soft directional light, mix that with at the architectural lighting, shoot with a wide angle lens and the dramatics start showing.


It looks like a simple shot but it took doing it twice to get all the tables and chairs to be set on the ground and second floor.

Let’s move inside, remove as much clutter as possible, timing is everything. The space has been designed to be energy efficient by adding skylight to the space. I did not want to see bright light from the skylight opening but a soft blue light which let’s people know it’s a day-lighted space.


Shooting at pre sunrise on multiple days allows me the control of the outside light.


My pre production shoot list from my scouting shots tied down the scope of work.


Customer service clean and colorful has to be completed before they open at 7:00 am.


Early morning pre sunrise, excellent colors, all of the values hold a little blue light out the windows.


It is always nice to give the viewer what it looks like from behind the counter.


I always like to push strong diagonal lines and it helps push your eyes into the shot and again shooting at pre sunrise allows me the control of the exterior light.


These kind of shots have deep shadows and highlights that you have to hold the detail in, good job.


One point perspectives are always good to use.


Upstairs dining area need to be able to show the volume in the space move back and put your widest architectural lens on.


Again timing is everything on the third morning, I wanted the blue light out the windows to add some contrast to the warmth of the interiors.
_q8a0021Nice to include a detail shot.


If you look some of the simplest things are right in front of you slow down and take the time to look.

_q8a0048This was again shot at pre sunrise before they open and I wanted to have the blue light out the exterior windows give the blue rich light to add the contrast to the warmth of the interiors.

Warren House, Chico California, USA

Client:  The HR Group of Architects & Modern Building.

Project The Warren House, Chico, California

A nice daytime view but lacks the dramatics, good use of having the trees frame the shot.

The money shots, arrive early the next morning 4:45 am to turn on all of the interior lights and wait until that magic moment “Dawn”.  This being an historical renovation the upstairs was designed with guests to stay in bedrooms overnight. My problem no lighting on the entire second floor, the solution was to add supplemental lighting to the entire second floor to match what was done on the first floor. Lucky,  I bring the lightning to be able to create the vision, I want in the final photographs.

The money shot, trees framing the shot back enough to capture the roof and all of the landscaping.  This was only possible by lighting the entire second floor.

Move in closer and show the relationship to the brick pavers and how much this allows for group activities.

Without the supplemental on the second floor all of the second floor would dead and out of balance.

The front exterior heavy with trees and block most of the views, shoot at dusk to eliminate any shadows from the trees and then move quickly to the interiors.

This was shot in early afternoon to giver the viewer a bright outside and have the feeling of daylight.

Shooting at dusk always adds dramatics and having that little bit of blue light out the windows gives and nice contrast to the interiors.

Excellent shot, it would have been ideal to have a fire in the fireplace but that was not possible. In photoshop we could always drop in a fire.

Taking advantage of the use of daylight and to capture a different mood for the first shots.

This is basically the same shot only at dusk when the outside light levels are dropping. I always like the blue light out the windows which contrasts the interior colors.

This is a real cool shot, supplemental lighting and careful composition makes this work.

I hope you enjoyed the Warren House

Ed Asmus

Architectural People Photographer


The Delta a Glimpse back in time.

At one time in my life I lived in this small community in Clarksburg on an 80 acre ranch with a pear farmers daughter, Debbie. As I look back on my time spent there, the town of Clarksburg still reminds me of Mayberry, everything has stood still for years but this little sleepy community is only 20 minutes from Sacramento. It still amazes me that in order for to go to bed, you have to get use to frogs croaking,  coyotes howwling a far cry from the city noises, helicopters, sirens, traffic. Most of all I miss the connection with the landscapes, it was in my backyard something I took for granted, now removed it hard to make time to go down there and continue this work, have to put this back on my list.

One of my favorite landscape photo, “Clearing Winter Storm at Stone Lakes Wildlife Refuge.

Originally shot with my 8×10 view camera. Clearing winter storm at the Pilemans Ranch in Clarksburg, California. Today this view does not exist anymore there are grapes there now.

Bud’s Lock and Saw, Courtland, California.  One of my first portraits with my 8×10 camera.

Elk Slough in Clarksburg a view from my backyard.

Plowed field in the fog, Clarksburg, California.

Marge and Les Herringer, last eight rows of corn, Clarksburg, California.

Lonely tree at Stone Lakes Wildlife Refuge.

Melon Harvest at the Herringer Ranches, Clarksburg, California.

Gary Merwins old tractor, Clarksburg, California.

Stone Lakes Wildlife Refuge.

Cows in the Fog, Stone Lakes Wildlife Refuge.

Catfishing Lambert Road. This was the first photo taken with my 8×10 camera.

Pear Harvest at Stillwater Ranches, Hood, California.

Boat  Docks in Hood, California.The Old Sugar Mill,Clarksburg, California.

One of my favorites “The Last Eight Rows of Corn”. My friend Duke Herringer, his family has farmed in Clarksburg for years and he told me do you know harvesters cut eight rows of corn at each pass. We put our heads together and came up with an idea to leave me eight rows of corn in a field, a “Delta Classic”.



I hope you enjoyed looking back in time.


Ed Asmus

Ed Asmus Photography










Residential Model Homes

Project: The Retreat, Rancho Murieta, California

Requirements for Photography: Usually when I shoot models homes, I always cover myself for any Builder awards programs.  Generally those requirements are front exterior, living, kitchen, master bedroom and two choice shots. I shoot more than what is required and always try to give my clients a great selection to work from.


Exteriors are always challenging and having mother be there when your ready to shoot is like winning the lottery. Supplemental lighting was added on the interiors, shooting from a 12′ ladder to be able to shoot over the fence.  You can only set up and do one exterior when the light is right. I just like the light at dusk and being able to have some clouds reflecting the sunset just makes this shot.


The same approach as the shot above, but with no clouds to reflect the sun over the top of the model. Still a nice shot but preference is to have the clouds for the dramatics. I am just waiting for mother nature to give some some clouds to finish up the exteriors.


Shooting in the daytime does give you a clean crisp look. This works for me now, shooting in the dead of winter is always harder. I will revisit this in springtime when the tree just starts to bloom, which will make a huge difference as long as the tree is not in full bloom.


Re visiting this in springtime, the trees will have some color, not a full canopy but enough color to help set a colorful mood which will help add life to this shot.


When your project is on a golf course, we need to be able to show both the golf course and the interiors off under the best light. Supplemental lighting shooting late afternoon gives me the feel what I am looking for in the final illustrations.  Drop a photo in the tv and I am good to go.


Good use of daylight with supplemental lighting gives the viewer an idea, that this would be a great place to live. I do like the late afternoon shadows on the golf course.


I really did not see this shot, but I looked back nice foreground colors, shows off the entire space very well and add that pop of blue light out the window and it’s a no brainer shoot it now!


It’s always nice to pull back and try to include some of the other room.


A good shot nice reflections on the counter.


Master Bedroom and we need to be able to show the outside golf course and well as the interiors.  Many multiple nights to get what I want to deliver to the client as finals.


A second bedroom, I always try to add some dramatics to a shot, here we placed a light under the palm tree to cast some shadows on the ceiling.  Shooting at dusk has allowed me to use the daylight outside and get a nice blue color of light, which helps.


Sometimes we do have not have complete control and our hands get tied, in this case no fire in the fireplace. Go back and look into my library of fires and add it in photoshop. In this area there are lots of people who ride horses and let’s just drop an images of horses  into the tv.


I always like to start with a nice 3/4 view, add supplemental lighting, level the camera and shoot.


A nice clean shot add supplemental lighting, add some lighting under the tree on the right side and make sure  you catch the blue light on the counter, looks good.


Let’s move camera position slightly to the left, push a strong diagonal lined show off the relationship to the golf course.


Secondary shots which it is nice to shoot when the outside light values are dropping, which adds color and contrast.


Just the exact amount of daylight out the windows on the right side, timing is everything.


A nice long shot which shows for the volume of the space


Everything looks good but the wrong picture on the tv, either golf or horses works.


All of the dining rooms need to be included in out shot list, for possible competitions.


A fun upstairs game room, add supplemental lighting, add up lighting under the palm tree and add an image to the tv,  good to go.

Kerrie Miller

Thank you Ed Asmus for a fabulous job shooting these beautiful homes at The Retreats at Rancho Murieta! Great work!


I hope you enjoyed seeing my vision into model homes.

Ed Asmus

Architectural People Photographer