You’ve seen them. Even if you haven't been to New Orleans lately, you’ve likely scrolled past those moody, high-contrast Hotel Peter and Paul photos on Instagram or Pinterest. There’s a specific look to them. It’s that intersection of 19th-century Catholicism, Swedish minimalism, and the kind of "faded grandeur" that only exists in the Marigny neighborhood.
But here’s the thing.
Most people just look at the pictures and think, "Cool, a church-turned-hotel." They don't realize that the photography here is actually a masterclass in adaptive reuse and color theory. Honestly, the site—a former schoolhouse, rectory, church, and convent—wasn't just "fixed up." It was staged to be photographed. ASH NYC, the design firm behind the project, knew exactly what they were doing when they picked those specific shades of gingham.
If you're planning a trip or just trying to figure out why your own interior shots don't look like the ones in Architectural Digest, we need to talk about what’s actually happening in those frames.
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The Architecture of the Shot: More Than Just a Pretty Church
When people search for Hotel Peter and Paul photos, they are usually looking for the "Great Hall." This is the de-consecrated Sts. Peter and Paul Catholic Church. It dates back to 1860. The architect was Henry Howard, a man who basically defined the look of the New Orleans Garden District.
The lighting in the Great Hall is tricky. You have these massive arched windows that pour in that heavy, humid Louisiana light. It’s yellow. It’s thick. Because the walls are left with a bit of a distressed patina, the light doesn't just bounce; it clings.
Why the Schoolhouse Looks Different
You’ll notice a huge shift in the photography when you move from the Church to the Schoolhouse. The Schoolhouse rooms are tighter. They’re cozy. The photos often focus on the hand-painted armoires or the specific way the sunlight hits the "Schoolhouse Red" or "Convent Yellow" palettes.
Unlike most modern hotels that use generic white linens, Peter and Paul uses custom rugs and textiles that reference the liturgical calendar. This matters for your photos. If you shoot in a room with a red palette, the shadows will have a warm, bruised quality. If you’re in the blue wing, the shots feel colder, more monastic.
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It’s intentional.
Capturing the Details: Gingham and Wrought Iron
Let’s get into the weeds of the aesthetic. You can't talk about Hotel Peter and Paul photos without mentioning the gingham. It’s everywhere. Canopies. Pillows. Curtains.
Why does it work so well on camera? Scale.
The designers used varying scales of the pattern. When you take a wide-angle shot of a room, the small-scale gingham creates a texture that looks almost like a solid color from a distance but adds "noise" that prevents the photo from looking flat. In close-ups, the crisp lines of the fabric provide a sharp contrast to the peeling plaster and old wood floors.
- The Rectory: This is where the library is. The photos here are darker. Think heavy wood, religious artifacts, and deep greens. It’s the "intellectual" wing.
- The Convent: Usually more stripped back. The photography here often highlights the original stairwells and the simplicity of the layout.
- The Courtyards: New Orleans is all about the "hidden" spaces. The shots of the brick-lined courtyards between the buildings provide that essential outdoor-indoor flow that defines the Marigny.
The Reality of Shooting in New Orleans Light
New Orleans is essentially a swamp. The humidity affects how light behaves. It’s diffused. Most of the famous Hotel Peter and Paul photos you see in magazines were likely shot during the "Golden Hour," but not the one you're thinking of.
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In the Marigny, the buildings are low. This means you get long shadows early in the afternoon. If you’re trying to replicate the professional look, you have to account for the "Blue Hour" as well. This is when the warm interior lights of the hotel—which use low-wattage, warm-spectrum bulbs—start to glow against the darkening sky outside those massive church windows.
It’s a vibe. It’s "The Elysian Bar" vibe.
The bar itself is a goldmine for photography. The trompe l'oeil murals and the marble countertops reflect light in a way that makes everyone look like they’re in a 17th-century Dutch painting. Seriously.
Common Mistakes People Make with Hotel Peter and Paul Photos
I see it all the time. People walk in with a phone, point it at the altar space, and wonder why it looks "blown out."
- Over-exposure: The walls are light-colored but textured. If you over-expose to get the shadows, you lose the "soul" of the plaster.
- Wide-angle distortion: The rooms aren't huge. If you use a 16mm lens, the furniture starts to look like it’s melting at the edges.
- Ignoring the floor: The heart pine floors are original. They have a glow that reflects the wall colors. Don't crop them out.
Actionable Tips for Your Next Visit
If you want your Hotel Peter and Paul photos to stand out, stop taking the same shots as everyone else.
First, focus on the thresholds. The transitions between the buildings—the brick walkways and the heavy wooden doors—tell the story of the property’s history as a religious campus. These shots provide context that a picture of a bed just can't match.
Second, play with the shadows in the Rectory. Instead of trying to light the whole room, let the corners go dark. It leans into the "clerical" mystery of the space. Use the lamps, not the overhead lights.
Third, go to the top floor of the Schoolhouse. The perspective of the church tower from the upper windows is one of the most underrated shots on the property. It frames the neighborhood in a way that feels very "Old World" New Orleans.
Finally, check the weather. Rainy day photos here are actually superior. The gray sky outside makes the yellow and red interiors pop with a saturation you just don't get on a bright, sunny day. The damp bricks in the courtyard also reflect the building's colors, doubling the visual impact of the architecture.
The most important thing to remember is that this isn't just a hotel; it's a preserved site. The best photography respects the age of the materials. Don't over-edit. Don't use heavy filters. Let the natural decay and the high-end textiles do the work for you. That’s how you get the shot.
Pack a tripod for the low-light areas in the Rectory. Use a 35mm or 50mm lens to keep the proportions of the furniture realistic. And honestly? Just spend five minutes looking before you even take your camera out of the bag. The Marigny moves slow. Your photography should too.