- Guaranteed for 2 full months
- Pay by PayPal or Credit Card
- Instant Digital Download
As a people photographer, I am not a specialist in photographing still forms like architectural structures and interior spaces. However, because I photograph weddings, I often take photos of interiors and locations as part of the wedding photos I give my clients. This is essentially how I learned to develop an eye for detail, form and structure as part and parcel of my work.
Let me share with you a few tips I have learned that will hopefully get you started in photographing interior spaces and architecture if you are a people photographer.
One of the advantages of still photography is simply that – nothing moves. You can leverage this by playing with your settings, especially the shutter speed. With the camera rested on a tripod or a table, you can play around with very slow shutter speeds to maximize capturing ambient light even in very dark corners, limited light, or night interior photography. If there are lamps and lights that make up the overall ambiance of the room, include them and take advantage of slow shutter speeds and long exposures. You can also keep your ISO low this way and have the bonus of clean noiseless images.
It is important to remember that for interiors, you should aim for balanced lighting. Meaning there are no overly dark shadows or overly bright highlights. You want to see the detail in dark areas but not blow out the light areas altogether. Because we are talking about natural light, think about which times of the day which best feature the interior space. Early morning and late afternoon light are the softest. Overcast days produce soft light. Bright super sunny days produce harsher light especially midday and therefore you may want to take into consideration shadows produced in the interior from harsh outside light. In contrast to photographing people, I would normally use these shadows as an artistic element of the photo. Interior spaces however are different and this may not always be appropriate.
Early morning and late afternoon light are the softest. Overcast days produce soft light. Bright super sunny days produce harsher light, especially midday. Therefore you may want to take into consideration any shadows produced in the interior from harsh outside light. In contrast to photographing people, I would normally use these shadows as an artistic element of the photo. Interior spaces, however, are different and this may not always be appropriate.
Not only is the 50mm lens the closest lens that resembles the human eye (when using a full frame camera), it is also the perfect lens to separate some areas and details of the space without going in too close. In a way, it is an excellent “portrait” lens for spaces, whereas my 85mm is my choice of portrait lens for people.
When using wider lenses, I find I have to correct quite a lot of distortion on the edges of the frame. With the 50mm this is hardly an issue. The results are pleasing to the eye and it evokes a very natural look, making you feel like you are within the actual space yourself.
This is tricky and the nemesis of many photographers. Most non-photographers are oblivious to white balance. This is especially obvious in weddings where the bride’s dress looks blue and people’s faces register as magenta, yet hardly anyone notices.
When I sold my house a few years back, the real estate agents who boasted of great property photography sent a photographer to my house to take some professional pictures. She arrived with a camera on the tripod and a flash head pointed slightly upwards. The lens used was very wide – I guessed around 10mm or 14mm. It took many days before the photos were up online, when finally I saw them, they were all very blue. My home felt so cold and not homely. One of the reasons for that was the incorrect white balance.
Personally, I prefer a warm feel to all my photos so I tend to edit towards that side. But do be careful that the whites still look white and not yellow or cream. Remember that what often draws people to an image is a feeling or emotion. Your image becomes all the more powerful if it reminds the viewer of a sentiment, experience, or something that resonates with them. White balance is key in helping achieve this kind of engagement with your viewer.
Nowadays, when you browse through interior design catalogues or blogs, you will come across many interior details, arrangements and vignettes that do not show the entire space. Everyone is doing it from high street department stores to high end interior designers. There must be a good reason for it. In order to reinforce engagement and a connection to your audience, details are essential.
Imagine walking into a space, or that you are viewing a house for the first time. Before you walk though the door, you survey the outside look of the property and its surroundings. You do the same as you walk in, surveying the overall scene before your eyes. But when you are inside you get closer and see the details.
You may want to touch and feel the walls, flip some switches on if they work, or sit on the sofa with fluffy scatter cushions. You want to get close, touch and feel things. It is not only a visual connection then, it becomes physical. This is the sense you want to achieve with your images when the viewer is not physically in the space. That is why close up shots and details are important.
With photography, aim to connect with your viewers not only by using visual senses but also with the power of emotion. If you can add a virtual physical touch to this engagement, all the better. When viewers look at your images and say, “I feel like I was actually there.” take that as one of the highest compliments.
I hope you enjoyed this little beginner’s journey into interior photography. Of course there are many more tips like straightening horizons and shooting through doors. If you have any other awesome tips, do share them here in the comments below.
Thanks for subscribing!