We owe you an apology. A couple of weeks ago we made a passing mention of our photo shoot for Better Homes & Gardens’ Do It Yourself magazine and then didn’t follow up. That left things hanging, so here’s the full story: the DIY team spent two days at Casa Petersik photographing our home for a before-and-after feature that will be spread across their 2009 issues. They also invited us to contribute to all four pieces, which means we’ll be writing each article in a more polished magazine format while keeping our own voice.

The crew arrived in Richmond loaded with props, cameras and gear, and spent 48 intense hours shooting nearly every room, corner and detail of the house. Their goal was to capture the changes we’ve made and highlight the design choices that give each space personality. The result will be a series of magazine spreads that show clear before-and-after transformations, paired with practical how-tos and personal commentary written by us.

Working with a national magazine team was an education in staging, lighting and composition. The process is deliberate and efficient: props are chosen to complement a room’s colors and scale, surfaces are edited until the eye can focus on the subject, and every angle is tested to find the most compelling view. It was fascinating to watch professionals transform ordinary corners into magazine-ready scenes.

Here’s the team that led the production. On the far left is Beth, the Editor of Do It Yourself, who coordinated the shoot and made the final styling decisions. Beside her is Cat, a longtime collaborator who styled many of the vignettes with an eye for balance and detail. Together they directed how each space should look for photography: where the flowers should sit, how an ottoman should be angled, which textiles would photograph best. Their edits were subtle but powerful, and they steered the shoot with calm confidence.

Also on the team were Erik, the photographer, and his assistant Piper. Their responsibility was to translate the styled vignettes into beautiful photographs, paying close attention to light, shadow and composition. Watching them work was a reminder that great photography is a craft: they adjusted angles, tweaked props and tested exposures until each frame sang. We’ll share official images when the spring issue hits newsstands, but the experience gave us a strong appreciation for the effort behind every published photo.

The crew even used reflectors and additional lighting outdoors to achieve consistent illumination. On one day they set up in our front yard, using tools and reflectors to highlight architectural details and landscaping. It was a small revelation to see how even an exterior shot benefits from careful light control to create depth and highlight texture.

Sherry and I chipped in where they needed an extra pair of hands. One memorable task was holding a large reflector steady in a gust of wind while they composed a shot. I took the role of on-site documentarian, snapping behind-the-scenes photos of the team in action. Helping out felt like being part of a small production crew, and it was fun to participate in the transformation of our own rooms into editorial images.

The schedule was busy: in two days they shot 32 distinct rooms, scenes and close-up details. Despite the long hours, the atmosphere was upbeat and full of laughter. The team was professional and friendly, and after the workday they treated us to dinners around town, which gave us a chance to relax and swap stories. Those moments made the intense pace feel much more enjoyable.

We also made a few shopping trips with the team to pick up extra props. While our home was largely camera-ready, the magazine wanted a handful of additional items to add color, texture and visual interest. Selecting these finishing pieces was part of the fun—small accessories can make a big difference in how a photograph reads. Sherry will share more about the propping choices and tips in a follow-up post.

Finally, prepping for a shoot sometimes means changing the furniture layout to get the best composition. In one room our coffee table was briefly displaced to open up the sightline for a cleaner shot. It was a lighthearted reminder that when a space is being photographed, practical considerations like flow and sightlines can trump everyday arrangements. All in all, the shoot was a rewarding peek behind the curtain at how magazine photos are made, and we can’t wait to see the finished spreads when the issues are published.