Quinn Ballard’s "Jobs to Be Done" approach to photography

Architectural photographer Quinn Ballard takes a thoughtful, client-first approach to every shoot. In this interview, he shares how strategy, trust, and asking the right questions lead to better photos and stronger outcomes for the firms he works with.

Quinn, please tell us a bit about yourself.

The most important thing to know about me is that my life has been, and continues to be, transformed by my faith. It truly is the core driver behind everything I do, both in work and in life.

So, what does this mean for my photo clients? It means I'm free to serve them wholeheartedly by doing excellent work with no hidden agenda. I no longer have the need to chase recognition or prove something about myself. That might sound deep, but it’s true.

In two sentences, how do you tell people what you do?

I give architects and design and build firms the confidence that their work will be understood in the way they desire it to be. Taking pictures is how I do it.

How did you get into photography?

About 15 years ago, I had a job that involved traveling back and forth from Tennessee to Asia. In Japan and Thailand, the buildings felt like they were from another planet. They were sleek and minimal, yet earthy and organic. Never sterile. Somehow, they felt both old and new at the same time.

At first, I didn’t think much about the buildings themselves, but I began to notice how design could actually affect people. Food tasted better when the restaurant felt right. Conversations flowed more easily in a cozy room. It felt natural and comfortable to be in a beautiful, well-designed space.

Back in Tennessee around 2010, a lot of new buildings and restaurants were being developed. Architects and investors had photos of their projects, but those pictures were usually generic and looked pretty much like everyone else’s.

They had a problem, and sometimes they were aware of it, but there weren’t a lot of great solutions out there. 

I had some free time, a camera, and Google. So I started trying to figure out how I could help solve that problem.

The first step was reaching out to firms to ask about their biggest frustrations with photography. I wasn’t asking to be hired, because I didn’t really know what I was doing yet. I was just doing research. It became a crash course in learning what different firms valued, what challenges they faced with photographers, and what they wished could happen instead.

Almost every person I spoke with first mentioned how frustrating it was to work with unorganized photographers who didn’t communicate well. Then later they would talk about not loving the photos they had.

That was pure gold for me to learn. The biggest pain points were not just about the final images, but about the process, communication, and the overall experience of a photoshoot.

How do you slow down client conversations to uncover what they actually need versus what they think they need?

I tell them upfront that I want to understand why they reached out.

Then I let them talk. I ask open-ended questions to keep the conversation going, like:

“What does success look like?”

“How will you measure that?”

“What approaches have you tried before?”

“How did those work out?”

“What hasn’t been working?”

“What’s been frustrating?”

“If you could start over with all your images, what would you do?”

“What’s the dream scenario you want to achieve with your photos?”

Then I just keep listening.

It usually seems therapeutic and safe to them because they can share what's on their mind about their business, their challenges, their photos, and everything in between.

How do you help clients understand the real value of a photoshoot and determine their budget?

I never just throw out a list of services or fixed rates. Most of my projects don’t fit into a template, and my clients are all working toward different goals. What matters most isn’t my time or even the photos themselves — it’s whether the images help move the client’s business forward.

I start by asking lots of questions:

Why this? Why now? Why me? What happens if you do nothing? Who are your current clients, and are those the ones you want more of? What kind of work are you trying to attract?

This helps uncover what “success” or “failure” could look like. Often, it’s the first time someone’s had space to talk openly about these things with an outside person. I’m not a business consultant, but I do need to understand where they want to take their business so I can help them build a photoshoot that supports that vision.

Incredible resources for this kind of approach are Jonathan Stark, Blair Enns, and David C. Baker. I’ve learned more from their books, articles, and podcasts over the last 15 years than from anyone else. It’s helped grow my business in a low-stress and efficient way.

For pricing, I always offer a wide ballpark range in the first meeting so we have a reference point. If the number works, we keep going. If not, I can often reverse engineer a more focused scope based on what they’re able to invest — assuming they’re not just price shopping.

Sometimes, that means scaling the scope to fit a budget. Other times, it means pointing them to a different photographer. If someone isn’t ready, I might even say, “I don’t think you need photos right now. You need to figure out your business model first, and what problem you’re solving for your own clients.”

My job is not to pressure anyone. It’s to make sure we both have confidence that working together will be a mutual win. That includes guaranteeing what I can control: the quality of the images, the delivery timeline, and a smooth, low-stress process where they don’t have to project manage me.

Once I understand the client’s goals, I talk through what they’re “hiring” the photos to do. They don’t need pictures — they need results. This thinking comes from the Jobs to Be Done methodology, which is worth a look up if you’re curious.

At the end of the day, there are lots of ways to make a shoot successful. The key is listening well, setting clear expectations, and building trust from the very first conversation.

What are the most common 'jobs' that architectural photos need to accomplish?

They’re often used to help win awards, attract new or better clients, and help position the firm at a higher level within their industry.

Photos can also support a firm in shifting toward a new sector or type of work. And just as importantly, great images help eliminate confusion about the quality of the firm’s work, its approach, and its overall personality.

What's the difference between photos that help move a firm forward and photos that just document a firm’s projects?

Successful, respected, and relevant firms tend to have a clear point of view and a confident, unapologetic approach. I am there to support each firm by helping them get images that reflect their own style and tone. 

It’s not about applying my personal style to their work. Instead, I stay flexible where I need to while still executing the shoot in the ways that I’m strongest. It’s never “the Quinn Show,” but rather me being the equivalent of their very own in-house photographer who knows their brand inside and out.

What led you to move from hourly or day rates to value-based pricing?

The shift was seeing that a large national client and a local smaller client who had projects similar in scope or effort shouldn't be priced the same. The "work" I do may be the same, but the profit that I help them make through photos would be in two completely different categories.

A large firm will typically earn much more from new projects than a smaller firm would.

So it’s not about quoting a higher price simply because I can. It’s a fair and appropriate approach that makes it a win for any client, regardless of size.

How do you handle clients who have a scattered brand because they've used multiple photographers?

I first tell them that it’s really common and that they don’t need to live in regret about it. 

Then I reassure them I can help, but it won't be an overnight fix.

I walk them through a step-by-step, zero-risk approach to get their photoshoots on track. The goal is to help them build a portfolio that feels true to their firm and that they’re actually excited to share.

Sometimes it makes sense for me to adjust or re-edit older images to make them match when possible.

If the need is there and the time is right, I also introduce the idea of building a photoshoot playbook. This is a technical document that helps prevent scattered or inconsistent visuals in the future. It’s fully tailored to each client and outlines everything from shooting to composition to editing.

Once the playbook is in place, they can hand it off to any capable photographer and be confident that the images they will receive will be consistent and in line with their brand’s tone and visual identity.

It’s not a groundbreaking way of doing things. It’s simply something that a lot of firms haven’t done because they either didn’t realize it was important or simply didn’t need to when they first started. 

But as a firm grows, it gets harder to slow down and define their visual foundation. Most of the time, they already know that visuals are one of the most effective ways to influence how people feel about their brand. They also understand that the portfolio problem will only get worse if they don’t start to make some changes.

It’s a gift to me to see how clients experience lower-stress and a more enjoyable life simply because some of their photo-related work problems were taken care of. I know I can’t solve all of their challenges, but helping eliminate a few of them is a privilege to me for sure.

What would you say determines whether you and a client will make a great team?

I’ll borrow this straight from my website:

A client and I will make a great team if: They're open to new ideas, they're willing to let me earn their trust, they follow through on their word, they don't think laughing feels illegal, and they're emotionally healthy. Not perfect – healthy.

It really is that simple.

Talk to us about lighting. Do you tend to take photos at a certain time of day, or do you bring lighting with you?

When I first started, I was terrified of using flashes simply because I didn't know what I was doing. Over time, I’ve learned how to use them as a tool to get realistic window exposures or to gently brighten a dark area without making the image look too produced.

I usually try to get a blueprint of the building or at least drive by to see how it’s oriented. That helps me figure out the best time of day to shoot.

Most of the time, I begin with all-natural light. I’ll take a couple of exposures with all of the room’s lights off, then one with the lights on and dimmed (if possible), and finally a few exposures of the windows.

I’ll use a flash to help capture a clean window exposure. I expose for the window, crank the flash to overexpose the room, then use the Darken blend mode when retouching. Most of my clients want their spaces to appear naturally lit, so I’ll often set the flash or lighting layers to just 15 to 25 percent opacity. That keeps it subtle and natural.

Unless the shoot calls for a very bright, poppy, contrasty, and clean look, I rarely use more than a couple of small flashes. My goal is always to photograph the space as it would look on the perfect day, at the perfect time, with the perfect staging, and according to my client’s style and goals for the shoot.

Over the years, I’ve built up strong retouching skills, and I’m always learning new techniques and working on getting better and more efficient. Understanding the basics of blend modes for lighting — especially Lighten, Darken, and Luminosity — makes a huge difference in complex lighting situations. Affinity makes that process really smooth.

How much time do you spend taking photos versus editing photos?

I usually spend about one to two times as much time editing and retouching as I do shooting. When I first started, I’d spend four to five times longer editing than shooting.

Affinity has made my workflow much faster and has helped me grow as both a photographer and a retoucher. When going into a shoot, I’m confident in all of the things Affinity is capable of and what the retouching workflow will look like. That helps me shoot the elements I need (lights on, lights off, flash shots, plate shots, etc.), without overshooting.

I never thought I’d love retouching and editing as much as I do, and it’s thanks to Affinity. It has been (and still is) my first love from using it on day one. 

What do you believe is the key ingredient behind the best photographs?

It depends on what you mean by “best.”

If you're talking about what makes a photo effective or successful, it's really about whether the image causes someone to feel what the client or photographer intended.

So, forget the “rules.” Forget the technical stuff. How does it feel?

Being guided solely by feelings is not great life advice, but feelings are still important!

What does it take to build a sustainable and fulfilling career as an architectural photographer?

Practice. Patience. YouTube. Mostly YouTube, to be honest. Just kidding. Kind of.

It helps to study what works in other industries and figure out how you can apply it to your photography business. Ask for advice. Focus on solving real problems your clients face. Build systems and workflows so you're not wasting time doing the same boring tasks over and over.

Stop worrying about what you think step 25 needs to be when you’re on step two.

Get off your phone and go for a walk. Ask others how they’re doing and actually remember what they say. Take a vacation/holiday. Be wise with money but don’t hoard it. Watch a funny TV show — if you haven’t seen Stath Lets Flats or A.P. Bio, give them a try.

Learn how to communicate well.

Get real with the fact that what rules your heart will rule your life.

And finally, don’t take yourself too seriously. 

Seriously.

Quinn is based in Nashville, Tennessee. You can see more of his work on his website understoodspaces.com.