6 Helpful Tips for Doing Interior Architecture Photography

6 Helpful Tips for Doing Interior Architecture Photography


Shooting interior architecture photography can be challenging to get just right. Here are six tips to help you have more success with this type of photography.

Interior architecture tips 01

21mm focal length, f/11, ISO 100, 1/200th. One off-camera flash used.

1) Always use a tripod

There are two main reasons why you always want to use a tripod for architecture photography.

First, a tripod will perfectly stabilize your camera/lens setup, which fully mitigates any possibility of motion blur from hand-holding the camera. Additionally, if you’re on a tripod, it’s much easier to make sure your camera is level (I’ll discuss the importance of a level camera later in this article).

Secondly, there’s no good reason NOT to use a tripod (I follow the general rule that, unless there’s a good reason not to have a tripod, I always use one). If you were tracking subjects which required quick movement and recomposition, then a tripod would be a hindrance. But, for architecture photography, your composition will always sit nice and still for you, giving you all the time in the world to set the shot up right. The ideal situation for a tripod.

Interior architecture tips 02

21mm focal length, f/11, ISO 100, 1/120th. One off-camera flash used.

2) Whenever possible, use a flash

If you shoot a room indoors without a flash, you will typically get shadows scattered around the room. Using a flash for interior architecture will help balance the exposure across the entire frame.

This is how I typically use a flash. Put the flash on a tripod or a stand, and place it a few feet away from the camera (on each side of the camera if you use two flashes for larger rooms), and a foot or so behind the camera. Aim the flashes so they are pointing up at the ceiling, but also slightly away from the room you’re shooting. At this angle, the light from the flashes will illuminate the room indirectly (i.e. bouncing off the ceiling and walls), creating a soft, even, fill-in light for the room you’re shooting. Set the flashes manually at half power (one stop below full power) and fire away!

Interior architecture tips 03

This was a tricky shot because my flash was reflecting off the windows no matter where I positioned it. So I took two shots (one with flash and one without) and masked them together in Photoshop. The windows you see in this image are from the shot without a flash, while the rest of the room is from the shot with the flash.

3) When shooting whole rooms, don’t get too wide

When I first started taking practice photos of architectural photography, I used the widest angle lens I could get my hands on to shoot entire rooms. My thinking was that with an ultra-wide lens, I could get more of the room in the frame. But more isn’t always better. I quickly noticed the high level of distortion towards the edges of the frame, especially in smaller rooms where the edges of the frame were at wide angles to the camera.

So, I experimented with different focal lengths and came to the conclusion that between 21mm and 28mm gives you the most practical balance between limited distortion and a wide enough frame to capture the character and presence of the scene. Ultra-wide lenses (i.e. 14 or 15mm) will make the sides of the frame look oddly stretched and off the horizontal plane, even when corrected in post-production.

If you’re in a situation where 21mm won’t capture enough of the scene, a panorama is always an option – which segues nicely into the next tip:

Interior architecture tips 04

This was an extremely dark room, even with all the lights on. So, like the previous image, I stacked two shots: one exposed for the room, and one exposed for the windows, and combined them in Photoshop.

4) Try panoramas for ultra-wide shots

Set up your camera vertically on the tripod (which creates a taller pano). Then, making sure you adequately overlap the scene in each shot, do your best to make the camera rotate on a perfectly level, horizontal plane, with the pivot point being roughly where the lens meets the camera.

If the pivot point is too far forward (i.e. somewhere on the lens), or too far backward (i.e. on the body of the camera), the panorama will appear distorted. For example, in the picture below, the pivot point was on the body of the camera (behind the ideal spot where the lens meets the camera). As a result, the panorama has a weird sort of convex distortion.

Interior architecture tips 05

This is a seven image panorama. See how artificially “rounded” the walls are? This will happen when shooting a panorama if your camera/lens are not properly situated on the tripod.

5) Whenever possible, try to shoot only one or two walls

Two wall shots typically give the viewer the most geometrically pleasant image to view. When three (or more) walls are introduced, the photograph can have a tendency to appear somewhat awkward-looking if you aren’t careful with the composition.

Interior architecture tips 06

21mm focal length, f/11, ISO 100, 1/120th. One off-camera flash used.

The above shot is a generic two-wall scene, with the walls meeting at a standard 90 degree angle. The image below is the same room, except I backed up several feet to purposely include the third wall on the left edge of the frame.

Interior architecture tips 07

The “third wall” on the left side of this shot creates an unnatural and visually-displeasing scene.

I don’t know about you, but to me, the photo above looks compositionally awkward and disorienting because of the third wall on the left. All of that said, just like the Rule of Thirds can occasionally be broken to make a photo work, sometimes getting three walls in the shot is okay – provided everything is geometrically aligned.

Interior architecture tips 08

A properly-aligned three-wall shot. 21mm focal length, f/11, ISO 100, 1/200th.

6) Make sure your camera is perfectly level

Last, but definitely not least, you will want to make sure your camera isn’t tilted up or down, or tilted to the left or right. Doing so, even slightly, will require post-production cleanup. Here’s an example of what I’m talking about:

Interior architecture tips 09

In this shot, the camera/lens were not level on the tripod. They were slightly slanted down towards the ground, creating the artificially slanted walls.

See how slanted the windows are? Clearly, this is not an accurate depiction of the room, it’s the result of the camera being tilted ever-so-slightly down. Now, see what a difference makes if we get the camera nice and level.

Interior architecture tips 10

Camera/lens properly level on the tripod. 21mm focal length, f/8, ISO 100, 1/120th. No flash (this room had plenty of sunlight to illuminate it without artificial help).

Being level makes a HUGE difference. There are several ways to help you get the camera perfectly level when you compose your shot. Most cameras these days have a built-in level, so when you look into the viewfinder, there are lines across the focusing screen that will tilt when the camera tilts. When these lines are level, you know the camera is level.

You can also use a bubble level that slides onto the camera’s hot shoe. When the little bubble is centered, the camera is level. You can buy a hot shoe bubble level at any photography store for just a few bucks. I use a bubble level because they tend to be more accurate than the lines inside the viewfinder.


Interior architecture tips 11

In this shot, I used Photoshop to remove the camera, lens, and tripod, which were all reflected in the mirror. Sometimes shooting into a mirror is inevitable, and when you do, cloning in Photoshop is a requirement.


As is the case with any type of photography, the most important aspect of getting the shot right is to take your time, and make sure your composition and exposure are exactly what you want. One good thing about architectural photography is that the composition and subject will never move (unless you move it), so there’s no need to rush the photograph.

Read more from our Tips & Tutorials category

Jeb Buchman is a self-taught, professional real estate and architectural photographer based in Baltimore, Maryland. Although he spends his days photographing the interiors of homes and buildings, he spends his free time in the outdoors, capturing the natural beauty of landscapes and waterscapes he discovers along the way.

  • Mike Miley

    Thanks for the informative article. Many great points to try and remember. Thank you.

  • dnsfoig

    Some great tips here, I agree that using a too wide an angle lens is not good. Re the 3rd wall most estate agents (here in the UK anyway) insist of a portion of the 3rd wall to give potential buyers a sense of size etc. If shooting for mags or interior designers then perhaps go ‘narrower & include just two walls or get central of rear wall & far enough back to include 3? Camera back has to be absolutely plumb vertical if you want to keep distortion free, Unless that’s what you are aiming for?
    Re panoramas unless you set up the camera on the tripod with the ‘nodal point directly above the axis of rotation you will get ‘curved’ walls. I have to say I never found the need to shoot panoramas for interiors. Too much trouble for little gain? Also if flash is a problem reflecting use collapsable reflectors to direct light into dark corners or low down. Alternatively I use small radio triggered flash behind furniture etc. to light ‘awkward’ areas. if all else fails use ambient light this works well particularly with light, bright kitchens. Yes i know not all kitchens are light or bright, Bey hey your a photographer use whatever it takes.

  • Wendy Brassard

    Excellent article. I’ve been shooting real estate for almost 10 years and am still learning. The 2 wall rule is a life saver. I like shooting 3 walls in great rooms, to highlight the size of the space but these shots I find have to be shot straight on as opposed to an angled set up. If you’re looking straight on to the room you avoid distortion. I’m guilty of opening my lens to it’s widest. More work later. I will dial it back. Also, I have flashes that I use off camera for dark corners etc. I also have lights on stands and a work light that I bring to every shoot. As I do video as well, some times I need to set up more lights than available in the space. The portable work light is affordable and lights up a large area. Just need to get crafty with stands, umbrellas to avoid shadows. Late evening or early morning shoots usually eliminates the need for extra lighting. Trying to schedule those times, however, is a challenge :).

  • Kate Janoskova

    Omg, thank you!

  • Mike Christelow

    Excellent article, thank you.

  • Wendy, thanks for your comments. You’re absolutely correct about shooting in the golden hours…they are the ideal times for architecture (both indoor and exterior shots). The indirect light from the low sun casts a soft and gentle glow across rooms with adequate window coverage, creating a relatively well-balanced (and warm) exposure.

    Also…using ultra-wide lenses does offer one significant positive characteristic that some of my clients like: It will make the room look larger.

  • drdroad

    I’ve been shooting architecture/real estate for decades, and most of this is grand advice. My only true disagreement is the 2 walls vs. 3 walls. Personally I never liked 2 walls, but was often forced into it because of the lenses I owned. Once I could afford what I really needed, I will still almost always shoot 3 walls if possible, especially if this is a brochure for a home for sale. But even when I’m doing something for myself, like a Historic Mansion, or Indian Ruins, I prefer the 3 walls.

    Oh, by the way, lots of times tripods aren’t useable in public places. Monopods do nicely until almost dark.

  • Khaled Eid

    Thank you Mr. Jeb Buchman for taking the time to post this well done article,I really enjoy it.

  • Tim Stone

    IMHO F8 is not stopped down sufficiently to guarantee everything is in focus.
    My goto is a 14mm canon prime, which has very little distortion for this focal length.
    the rest can be pulled out in LR

  • Thank you for these tips! I just started getting into interior photography and really enjoyed your trips (especially about flash and bounce lighting).


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