When it comes to interior design photography, I’ve learned a lot over the years, and my approach has evolved significantly. If you were to look at the final images from my recent shoots, you’d probably think they were lit using flash. However, everything was shot using only natural light. I want to break down the techniques that helped me achieve these editorial-quality images—without ever needing a flash.
Camera Settings: Why ISO and Aperture Matter
Let’s start with the camera settings. Typically, when I’m shooting interiors, I don’t give much thought to ISO. I’ve found that with modern cameras like the Sony A7S III, a higher ISO doesn’t drastically degrade the image quality. Even an ISO between 800-1200 works fine. That said, I’m starting to see the subtle advantages of keeping my ISO as low as possible. For my recent shoots, I’ve been aiming for ISO 100, and while the difference might be small, I’ve noticed that lower ISOs produce slightly cleaner images, especially when I’m editing. So, I recommend keeping the ISO low if your lighting conditions allow it.
As for aperture, I usually stick around F9-F10, especially when I’m on a tripod. This gives me a great depth of field, ensuring everything from the foreground to the background is sharp. However, when I’m shooting handheld, I might drop the aperture to F2.8 or F4, particularly when I want to create that soft, blurry foreground effect. It’s not something I do for every shot, but for certain images, it adds a beautiful depth that works well in editorial-style photography.
The Straight-On Shot: Elevating Your Composition
Now, let’s talk composition. I’ve come to realize that one of the biggest differences between real estate photography and editorial interior design photography is the type of shots you take. For real estate, angled shots are common, but in editorial work, straight-on shots just look better—more professional, more intentional.
In my recent shoots, I took a lot of extra photos, as I always do, but I noticed that the interior designers almost exclusively chose the straight-on shots for the final selection. I already had an inkling that this was the case, but this shoot really cemented it for me. Straight-on compositions create a balance between verticals and horizontals that makes the images feel grounded and structured. In contrast, angled shots, while useful in some scenarios, often look amateurish and more suited to real estate listings.
There are, of course, exceptions. Occasionally, an angled shot works better to capture a specific feature of the room. But as a rule of thumb, go for the straight-on shot. You’ll thank yourself later. I’ll throw up some examples in the video above to illustrate when straight-on works best, and when an angled shot might be more appropriate.
The Game-Changer: Slowing Down and Bringing an iPad
This next tip was a real game-changer for me: slowing down and using an iPad during the shoot. Initially, I hesitated to do this because I wasn’t charging enough to justify that extra step of client interaction. I thought, “Why bring an iPad and let the client nitpick every shot?” But I decided to give it a try on one of my recent shoots, and it made a world of difference.
Here’s why: By showing the client the images in real-time, we can collaboratively decide which shots work best. This means I’m not shooting unnecessary extras, and they’re happier with the images from the get-go. The editing process is quicker, and we narrow down the final selection much faster. Plus, the client leaves the shoot feeling more confident because they’ve had direct input.
On my first shoot with this particular designer, I took a bunch of photos based on my typical process, and while she was happy with the results, it didn’t feel like we’d truly nailed it. Fast forward to our most recent shoot—when I brought the iPad—and her reaction was night and day. She was excited, involved, and loved the images right on the spot.
It’s a win-win. The client gets the shots they want, and I leave knowing I’ve nailed the job. Plus, having the client’s feedback in real-time allows me to tweak small details during the shoot, making the final images even better for my portfolio.
The Power of Natural Light: Why I’m Now “Lights-Off Gang”
One of the biggest takeaways from my recent interior design shoots is the importance of natural light. I used to rely heavily on HDR and flash to balance the lighting in a room, but I’ve since transitioned to a “lights-off gang” mentality. It’s a term I’ve started using for my process of shooting interiors with all artificial lights turned off and relying solely on natural light.
Let me show you an example. In one of my recent kitchen shots, all the lights in the room were turned off, but natural light was streaming in from the windows behind the camera. You can see how it created beautiful natural shadows, giving the image depth and dimension. The typical HDR approach might have brightened these shadows, but keeping them intact adds a touch of realism that I find works so well in editorial photography.
Of course, there are exceptions. Bathrooms, for example, often don’t have a lot of natural light, so I’ll turn on sconces or other light fixtures in those cases. But even then, I try to keep it minimal. I’ve found that using as little artificial light as possible helps preserve the room’s natural ambiance.
Composition is Key: Getting the Verticals and Horizontals Right
When shooting, especially straight-on, you have to be meticulous about keeping your verticals and horizontals aligned. I try to get these as close to perfect in-camera because fixing it in post can sometimes feel impossible. There’s nothing more frustrating than thinking, “Oh, I’ll fix it later,” only to find that the shot isn’t salvageable without cropping.
A good example is a recent shot I took over a kitchen counter. I tweaked it a bit in post, but the vertical alignment still wasn’t perfect, which was frustrating. Lesson learned: get it right in the camera!
Editing for an Editorial Look
When it comes to editing, I strive for a natural, editorial vibe. I’m not looking for that overly processed HDR feel. My goal is to create images that look like they’ve been lit with flash but were entirely natural.
I’ve also created presets that help achieve this look, which I’ll talk about more in a future post. But for now, if you haven’t checked out my presets yet, I’ve got ones for drone, twilight, exterior, and interior real estate images—they’ve been super popular!
These are just a few of the things I’ve picked up along the way while transitioning from real estate photography to a more editorial, architectural style. I hope these tips help you as much as they’ve helped me.
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