How to Photograph Interiors
What should I do?
When you take a photograph, you must decide in advance what the goal of the photo you’re about to create is. Do you want to depict how the inside design is constructed, the construction or finish, furniture, or maybe the ceiling or floor? Maybe the lighting company has hired you to handle their most recent project? Consider looking through the eye of the customer and think about what they would like to convey through the images. It is a huge difference when you shoot with a wide-angle lens from a taller perspective, offering a panoramic view of the space, or from a lower angle to draw focus to furniture or ceiling.
In this article, we’ll review the steps below and techniques that you can take into consideration to create beautiful interior photos.
1. Choose the camera’s position.
When taking photos of interior space, do you take your photos through the eye of the person who is the or user of the space or the architect? Designers might want to present an outline of the area in order to help them present what the plan of the area is. Camera angles are more elevated than that of a guest. To get great coverage, it is possible to use both.
When putting the camera in position using a tripod that is sturdy with an excellent ability to level, it is likely that”ball-head” tripods designed for flexible positioning are not the ideal choice for this type of job. The best option is to utilize an actual tripod head that can alter every dimension on your own. The built-in levelling device can provide you with a great starting place. Find walking patterns and views lines inside the room. It is essential to ensure that vertical lines stay vertical in such a manner to ensure that walls do not fall and furniture doesn’t appear like a pear. Make sure you realize that when you transform a 3D dimension into two 3D images, the design must look pleasing to the eye. Therefore, look for traditional diagonal lines and attempt to apply rules of thirds. Then, search for lines that are horizontal that are in connection to the frames in the photo. If the horizontal lines line up with the frame of the photo, that’s great. Be aware that any corrections to the horizontal and vertical perspective that you make through post-processing will reduce the resolution of the picture. Wide tilt-shift lenses make live view much more accessible and give you greater flexibility when choosing the best position for your camera. Live view is also an essential feature for cameras that use this kind of photography that is connected to a tablet or laptop computer. In the past, the photographers of the past took pictures using huge, technological view cameras that were bulky and were required to evaluate the “preview” upside down, which was covered with black paper… Even though I’m not that old, I was working on them while studying photography at took place at the Academy of Art in Groningen.
2. Exposure and contrast
The wide-angle lens and tripod allow for great depth of focus using smaller apertures. For a lens that is 17-24mm for full-frame cameras, choose apertures of f8 to f16 for the sharpest images. The ISO range is 50-200. Utilize a remote control or a timer to eliminate the shaking of the camera.
There will be a massive difference between the lighter and dark areas of an interior, particularly when light is streaming into. If you utilize the centre-weighted average or Evaluative exposure mode on the camera, ceilings and walls of white will appear grey and dull, while the shadows are sluggish and dull. One way to combat this is to over-expose the image and darken certain areas post-processing by burning and avoiding. The effectiveness of this technique will be contingent on the contrast and exposure and the range of dynamic values on the sensor. The best option is to utilize the combination of analogue techniques and digital enhancement of contrast in post-processing.
When you add light to the dark area, the overall contrast will be reduced, and clarity and colour will come back to the area of shadow. Naturally, this must be done in a subtle manner to ensure that the atmosphere of the space remains altered.
Another option is to combine multiple exposures with Photoshop. You can do this by changing the exposure time and then taking 3 to 6 exposures, based on the contrast overall. Check that your camera isn’t changing its position during exposures and that there aren’t moving subjects in the photo. There are many automated “HDR methods that blend these images in a way that is automated; however, I’ve found that the result is likely to look fake. I employ a manual approach that is known as DRI (or Dynamic Range Enhancement in Photoshop. I begin with the one or two stops of exposed images and then place the darker layers on top of each other by selecting the highlights and then masking the highlights. This may require some practice, but the result will be highly natural outcomes!
Naturally, in certain circumstances, you could combine both of the previously described methods.
3. Colour temperature differences
A room will be able to accommodate many different lighting sources. The fluorescent light source will produce a greenish image, whereas tungsten can cause the area around the light source to appear brown-red. The daylight that is coming in contains a lot of blue light and also flashlight also. Therefore, it is crucial to adjust the white balance of your camera to be as precise as you can with live view and carefully interpreted interpretations as it is difficult to remember the exact time while you’re behind your computer.
The colour balance should generally tend towards tungsten, and the camera must be set within the range of 3000-4000 Kelvin. Some minor editing is required for specific areas in order in order to bring them to acceptable limits. Usually, the blue light effect is well accepted and loved in the interiors business due to the advanced lighting effect on stage.
