Photography has never been more important to selling real estate than it is today. The markets are heating up again and demand for real estate creates demand for photography. This is good news to photographers, but like any business, there is plenty of competition. If you are new to real estate and architecture photography, here are some general guidelines.
A camera, lens, and tripod, are required to get started, but you might quickly learn that many photographers are very proficient at using supplemental lighting and Photoshop techniques. What really sets the curve is post-production work, editing RAW photos in Capture One.
Wide angle lenses are required, for tight spaces but shouldn’t be over used. For cropped sensor cameras a lens around 10-22mm or 12-24mm is perfect, and for full frame sensor cameras, a lens around 16-35 mm will do the job. Ultimately, a 24mm or 17mm shift lens is the supreme choice that gives the photographer maximum control over distortion for interior and exterior.
Approaching the Property
The first image a potential buyer sees (usually) when reviewing properties online is an exterior photo. That photo is important so take the time to find the best angle and best light. Ask the realtor what are the important features to highlight. They usually want exterior photographs from front and rear, a deck or patio, landscaping and gardens, pool or hot tub, a barn, shop, or other outbuildings. Each feature should be emphasized in the composition by using the surroundings, like beautiful gardens leading to a cool garden shed.
Most outdoor subjects benefit from early or late day lighting, including real estate. Using Google Maps and Google Earth can help you determine the best time of day prior to the photo shoot. Searching only takes minutes and provides an idea whether a home faces the sunrise or sunset, or neither.
Homes come in all shapes, sizes, styles, and conditions. Once inside, I set out to photograph the main rooms: the living room, kitchen, dining area, master bedroom, master bath, are all ‘must shoot’ rooms. There could also be a library, office, large walk-in closet, and more. The client can often tell you what they deem important. Next, seek the best perspective for each room.
Camera Height and Vertical Edges
There is broad agreement among clients and photographers, that if there is to be a rule it will state: verticals must be correct! In most interiors there are edges and corners of walls, door frames, and windows that have vertical sides and these edges need to truly be vertical.
One widely used approach is to level the camera using a hot shoe bubble level, making edges straight. While this is a simple solution, it is not always the best solution when using a non-TS lens. A level camera at chest height can result in foreground subjects, like furniture being cutoff at the bottom with too much ceiling at the top. Lowering the camera height will improve this problem but how low can you go and still have an effective photo?
So what is the perfect camera height? There are many opinions. Some suggest chest height while others suggest door knob height or even lower, all to avoid diverging verticals lines. I prefer chest height or close and correcting vertical lines using other methods like a tilt-shift lens or the Lens Correction Tool in Photoshop (or Capture One).
Getting Good Exposure
The perfect interior exposure is challenging when balancing bright window light, with darker interiors. You can deal with scene contrast many ways; one is to shoot when outdoor light levels are lower. Midday light will be much brighter outside than during or after sunset, or on a cloudy day. Turning on every light inside increases the interior brightness, and if the outdoor brightness is lower a RAW file can often capture the scene in one frame.
To make sure I have all the exposures for a great image, I determine my ‘base exposure’, the image that has most of the data centred in the histogram. Then I bracket widely in +/- one stop increments of varied exposures so I have variety just in case I need them. Lightroom and Photoshop, and certainly other programs, allow selective lightening and darkening of shadows and highlights on a single image, but if the contrast is too much, I can blend those bracketed images into a great final image.
Just like a finely lit portrait, interiors can benefit greatly from nicely styled lighting. HDR can manage scene contrast but it does not create highlights and shadows in areas that have no directional light. If you have a dark cabinet against a dark wall, adding supplemental light can bring out that needed detail.
Most interiors have two light sources: window light and interior lights, both constant light sources. You can add constant lights or use strobe or flash. Constant lights, unlike flash, are like the lamp on the table or window light. Changing your exposure to darken window light also changes the exposure brightness of your constant lights. Flash is not a constant light! If you change your shutter speed to darken the window light exposure, flash exposure will not change and for this reason; flash or strobe provides flexibility when lighting interiors.
Photographers shooting for architects or magazines often have plenty of time to photograph a property with finely crafted lighting techniques, but a real estate photographer’s time is usually limited, making flash the perfect tool. Some photographers have mastered the balancing act of using direct on-camera flash to fill in a scene while others use on-camera flash in a bounce capacity.
One side effect with outdoor lighting mixing with interior lighting is ‘lighting color balance‘. This is different than camera White Balance settings. Camera White Balance is set to either specific areas of your scene or set to average all light sources together.
There is a blue color cast above and right side of the window as well as the floor on the left. When you have mixed light, such as daylight colored window light mixing with tungsten colored ceiling lights, and then throw in a fluorescent kitchen light, you have a veritable palette of different colors mixing together. Walls closest to windows will be blue while the wall closest to a lamp will be amber and the ceiling in the kitchen will have a green tint.
In some cases the effects of mixed light will be minimal and other times require attention. You can prevent mixed color in many cases by color matching the inside lights to the same color or use Photoshop color correction techniques to change color of specific areas.
The End Product
Clients may have different preferences, but mine usually request low resolution for the web and high resolution for print publication. Most Multiple Listing Service’s specify what is accepted format and acceptable sizes. Then final delivery of the files is made by Dropbox or a comparable online service.