A visitor walks in from the street and through every hall, in the order you would take them

What we sell is the walk through this building. Everything we publish is a paragraph and a photograph of the front door.

Directors of single-site museums and historic houses; whoever keeps the website

What you sell is the walk through the building. What you publish is a paragraph and a photograph of the front door. From that a visitor cannot tell what the halls hold or how they follow each other. With a tour they start at the street, go in the door, past the ticket desk, then hall by hall the way you walk it yourself. Nobody has measured what the front-door paragraph costs you, and we will not invent a number.

We photograph the building the way a visitor walks it. The arrival, the entrance and the ticket desk come first, then each hall in the order your route takes them. We draw arrows on the floor and in the doorways, so a visitor clicks where they want to go and goes there. The stairs and the landings are photographed too, not left out. The walking is in the price. It is the tour, not an extra.

• We tried 51 Albanian web addresses on 4 August 2026. 17 answered. 10 of those are cultural or heritage bodies. Exactly 1 of the 10 publishes a walk anybody can take. Home pages only, and we ran no scripts.
• The arrows that join the halls come with every tour and are never an extra. Our published rate card says so, so the walking carries no surcharge.

You can only walk where the camera stood. The route is fixed on the day, and a new way through means coming back. Our local check is 10 home pages that answered on 1 day, not a census. 34 of 51 addresses did not answer. We ran no scripts. 1 site we could not read at all. We may never say no Albanian museum has a tour: 27 were published. Not publishing a walk is evidence about publishing, not about demand. And nothing we have shot is a museum.

A tour of a museum with no labels is just halls. And the thing they came for is behind glass on the far side of the hall.

Curators and interpretation staff; any institution whose value sits in a few objects

People come for 1 object and then see it from across the hall, behind glass. A wide photograph of the gallery leaves the label unreadable, so the tour ends up being halls with no labels. Here a visitor zooms in until they can read the writing, and a click can play a recorded voice telling them what they are looking at.

1 visit gives you 3 things. Every photograph is kept in tiles at several sizes, so a visitor zooms into an inscription, a brushstroke or a maker's mark and it stays sharp. The browser loads only the part being looked at, and that is in every price. A marker on the object opens a full-size close-up over the hall. A marker can also play a recorded voice, so a curator explains what somebody is looking at. Writing the words is quoted separately.

• Zooming comes with every photograph and is never an extra. Tiled photographs are on our published list of what we make, so the close look at the object is in the price of the hall.
• A marker opens where the visitor is standing. They get the close-up over the hall without leaving it or losing their place.
• The close-up photograph and the recorded voice are each a published per-item line on our rate card, so you can price them before you book.

Our whole written output is 1 panel. What it says is unfinished placeholder text, and it is live on a client tour today. We do not write interpretation. In a museum the close-up is shot through the case, because nobody opens one. So the zoom shows the glass as clearly as it shows the object. Zoom adds no detail the camera did not resolve. A close-up is a still from the visit and cannot be added later. 1 audio hotspot exists in 17 tours.

6 visitors in 10 are foreign, and everything we publish is in 1 language.

Castles and monuments most of all; any site whose audience arrives from abroad

Most of the people walking through your halls arrive from another country, and everything you publish is in 1 language. So the visitor who needs the words most cannot read them. With a second language they read every panel in their own, and switch over without the tour reloading.

We build every panel again in a second or third language, over the same photographs. It is 1 more small text file in the same folder. The photographs are not shot or stored twice, and a visitor switches language without the tour reloading. So 1 visit serves several audiences, and a language you add in 2 years costs what it costs today. The sound, the videos and even the plans can differ by language.

• The national statistics office, 2024: 59.9% of visitors came from abroad. Castles and monuments 69.4%. Museums 60.9%. Archaeological parks 52.5%¹⁸. The 2025 release publishes no split, so the figure carries its year.
• An extra language is a published per-language line on our rate card, priced per language rather than per photograph. So you can add 1 later and pay for no new photography.

It is built twice and it works once. On 1 tour the second language is real. On the other, 20 lines differ from English, and those 20 carry another building's hall names. It is live today. It is a layer over the photographs. The signage painted inside the building stays in whatever language it was painted in. A second recorded voice is a separate file and a separate charge. And the foreign share is not the non-Albanian-speaking share.

2 years of work, 8 weeks on the wall. What am I paying to photograph?

Galleries and any institution whose display rotates; whoever signs off the spend

The show that took 2 years comes down in 8 weeks. Photograph only that and what you paid for dies with it. Photograph only the permanent halls and the thing everybody is talking about is missing. So you get both: in 1 walk a visitor sees the halls that never change and the display that is up right now. Nobody has published how long a museum tour stays current, and we will not guess.

We split the job so you can price the 2 halves apart. The building, the approach, the route and the permanent halls are the half that lasts. The temporary display is the short-life half, and you buy it knowing that. You pay per photograph, so you count both halves before you book. When the display comes down, the photographs that did not change are not charged again. The rate card already says so.

• Our published price list already says it: a refresh is priced from the rate card once we know what changed. It is explicitly not hosting and not a retainer.
• Albanian law already requires the catalogue of a temporary exhibition to be published before it opens¹³. So even the law treats a temporary display as a thing that starts and ends.

We have never sold a refresh, here or in any sector. No capture date is recorded on any delivered project, so no before-and-after can ever be shown. Our smallest job is 4 positions. So a promise not to re-charge unchanged positions delivers nothing below 4. A words-only refresh has no line on the rate card at all. And this is not a record, an archive or preservation.

A free platform hosts the great museums. Why pay you?

Municipal and community institutions with no digital budget; the trustee who asks

A free platform run by a very large American company hosts the great museums, and we do nothing about that. It takes photographs, but it has no place to put a walk. Your halls go up there as separate pictures, without the route between them. Your own tour is the 1 address where a visitor gets all of it: every hall in the order you walk it, every panel, in 1 place.

We do nothing to get you onto that platform, and we would rather say so plainly. The tour is a website on its own and you keep it at your own address, so everything in it stays together and stays reachable from your own menu. The photographs still export in the shapes each platform will take. So a platform becomes somewhere the work also appears, rather than the only place it exists.

• That platform's own list of what it accepts has 6 kinds of file: images, 360 images, videos, audio clips, documents and 3D objects¹⁹. No kind of file is a set of halls joined into a walk, or an embed of one.
• Its own rules forbid using it for commercial activity or as a fundraising platform, and the operator may remove content without notice²⁰. So no ticket link and no donate button.
• 1,337 partner cards read in 1 fetch on 1 day carried no institution in Albania.

It does not get an institution invited, and it must not sneer. Free is a real and generous offer. Getting out of that platform is genuinely cleaner than any commercial contract we read. Metadata exports in bulk, and deleted items go from every published location. Images come back 1 at a time. 1,337 cards read on 1 day is a large sample of a paginated index, not a census. And this row earns nothing: it is a defence, not a job.

Half of what is on my walls belongs to somebody else. Your camera cannot photograph a hall without photographing all of it.

Galleries, contemporary spaces, and any museum holding loans or work in copyright

A 360 photograph takes the whole hall at once. Every work on every wall, including the one behind the camera. Nothing can be cropped out afterwards. So the halls you clear are the halls a visitor sees, and a hall you hold back is not in the tour. Settle that before a date is agreed and you know what you are paying for. Leave it and you have photographs nobody can lawfully publish. Or worse, ones that get published anyway.

We settle it before a date is agreed, not after the visit. The plan is a list of your halls with a rights column. Which halls are cleared. What may not be photographed in each. What is on loan, and what its agreement actually permits. Where the tour will be published, and when the permission ends. And 1 person you name signs it before the day.

• Albanian law lets you reproduce what stands in a street, a square or a park, and for a building the exterior view only. Indoors there is no such freedom, and a work in a public place may not be reproduced in 3 dimensions at all⁹.
• The same law's exception for institutions names archives, libraries, and educational and scientific institutions. It does not name museums⁹.
• United States: published loan policies let a borrower photograph a loaned object only for overall installation shots, and a visitor there needs special permission for a tripod. The list of what may not be photographed arrives 15 days before the display opens¹⁰.
• The reproduction licence in those same loan policies is granted per use: research, education, promotion, visitor photography, and media not yet invented.
• The largest free cultural platform admits only cleared or copyright-free content, and puts the clearance duty on the institution.

We do not clear rights, we do not advise on them, and we give no legal advice. We quote the statute and stop. No rights protocol, no consent form and no capture agreement exists in this studio today. This row describes an artefact we must write before the first culture booking. Where an object is on loan, the museum's signature is a representation and not the lender's consent. And clearance for your own website is not clearance for a public platform.

We had a virtual tour. It was on the ministry's website. That website is gone, and nobody told us.

A directorate holding several monuments; anyone whose tour was commissioned centrally

You paid for a tour and somebody else holds every file. When the website carrying it goes, the tour goes with it, and nobody tells you. If you hold the folder yourself, you put the same tour back up at a new address, and visitors reach it again.

We hand over a folder. The panoramas, any plans it uses, the interface, your icons, your logos, your fonts and the code. It runs on your server or on ours, and that stays your decision after handover. On yours there is nothing left to bill. On ours it is €5 per GB of storage per month. There is no term to renew. If a host is ever lost, you put the same folder back up yourself.

• Albania published 27 virtual tours on 1 government website in 2020: 14 museums, galleries or houses, 9 religious sites and 4 exhibitions⁷. That website is gone. Not down. Gone: the domain answers as non-existent on every record we queried⁸.
• The last time the web archive saved a working page from that site was 18 September 2025. Its index still lists all 27 tours⁸.
• Exactly 1 of the 27 can be reached from an institution's own website. The national statistics office counts 12 museums, and 9 of them have a tour of themselves that nothing links to.
• We opened 2 of the tours on 4 August 2026. Both still work. They sit on a private company's servers, not on any museum's.

The rented platform did not fail. It kept every file alive for 6 years and is still serving them. What died was the institution's own front door, and our folder on that address would have died with it. The claim is recovery, never uptime. Owning files does not remove hosting. It moves it. A live panel ships in 15 of our 17 tours, so nothing here is absolutely self-contained. If somebody else runs your website, putting the tour on it is their job. And we have 0 culture projects.

Somebody writes and asks whether their mother can get up to the second gallery.

Protected buildings with no step-free route; anyone planning a first visit in advance

Somebody writes and asks if their mother can reach the second gallery. You answer from memory, and most people never write at all. For a protected building the steps often cannot lawfully be altered, so what you publish is the only thing that can change. Publish the way in and people look for themselves before they travel, and decide without asking you.

In 1 British study, 91% of the disabled people who answered looked for access information first, and 59% skipped a venue that published none¹¹. The people in it chose to take part, so it is not a picture of everybody. Parents of autistic children name crowds, loud noise and not feeling welcome¹². All 3 are things you can see in a photograph of the hall.

We photograph every step of the way in, and publish it as spots anybody can open before they travel. The car park. The door. The ticket desk. The stairs or the lift, exactly as they are. The landing, the gallery, the seating and the lavatory. Where a step-free way exists we build it as a named path over the same photographs, and we walk it end to end before handover. Where it ends at a stair, the path ends there and says so.

• Albanian cultural heritage law defines the right of access as physical or intellectual, and says museums must ensure it through exhibition spaces, meeting halls and websites¹³. The same Act names disability once, about teaching materials.
• England: a heritage authority records a virtual tour as a legitimate access measure, counting for the parts of a house nobody can reach¹⁴.
• Britain: 2 institutions publish a photograph-by-photograph story of the way in on their accessibility pages¹⁵¹⁶. The Netherlands: a national museum publishes the plan of its lifts and accessible lavatories as a file anybody can open before travelling¹⁷.
• We read 7 Albanian cultural hosts on 4 August 2026. Home pages only. 0 publish any statement at all about disabled access.

It measures nothing and must never appear to. No width, no height, no gradient, no step count, not even approximately. Anyone needing a dimension needs a professional measurement on site. We claim no standard and no compliance. A screen reader reaches the buttons and the menu. It does not reach the photograph. A blind visitor gets the menu read, not the hall. A recorded voice has no written version, because captions are not on our price list.

By gallery 7 nobody knows where they are.

Multi-floor museums, historic houses and castles; whoever is asked where a hall is

Galleries are built to look alike and to hold different things, which is exactly how people get lost. By gallery 7 a visitor has lost the thread of a collection you spent decades arranging. A plan in the corner tells them which hall they are in, which way they face and which floor they are on, so they keep the order you built. Nobody has measured getting lost in a museum, and we will not put a number on it.

We put a plan in the corner and pin every photograph on it. A shape shows which hall somebody is in, which way they face, and how much of the hall is on their screen. Every pin is also a way in, so the plan doubles as your gallery list. More than 1 floor gets a plan each, and it changes by itself as somebody climbs. The stair is pinned on both, so the marker never disappears.

• We pin onto the drawing you already hold, so there is no measuring job to pay for and no wait before the tour can carry a plan.
• Pinning each photograph onto that plan is a published per-photograph line on our rate card, so you price it before you book.

Delivered once in 17 tours, and the page prints the one. It shows the position we pinned, not a measured one. Nothing on the plan is a measurement of anything. A position pinned to the wrong plan puts a visitor on the wrong floor silently. There is no drawn route between levels. The plan does not appear in a headset. Drawing a plan means somebody comes and measures the building. That is a different job, and it is not this one. And there is no search inside a tour.