Architectural Interior Photographer Discusses: What Determines a Good Interior Photograph?
Interior Photography is perhaps the most difficult of the professional photography genres. Each detail is crucial, and every prop needs to be in the right spot; chaos is to be avoided. Items need to be cleaned and simplified. Lighting is a challenge; beyond this, one needs to know how to best portray an image that conveys the “look and feeling” of the room that the interior designers and architects have worked so hard to say. The photo is always better than the real thing! It will show clarity of perception, deliver the products your client sells, and have an aura of lighting (usually caused by the light used by your photographer). It should be inviting, give the impression of “presence,” have a minimalist and clean look, and will be full of the sense of drama and motion.
Simple rules to start with:
1). Define your client
The builder, architect, or real estate agent will need to establish the relationship between the design and the space as well as the intent as well as flow arrangement. Interior designers will be more focused on the furniture and the particulars of their plans. The architects like drama and typically aren’t averse to a wide-angle distortion. However, designers working on interiors or images of the product might consider distortion to be an issue. However, the distortion has to be handled with care – it must be a part of the overall design effectively.
2.) Angle
One-point perspective, also known as the “head to head” view is sturdy and is symmetrical. The Two-point air can be effective in defining the space. However, you must be aware of the way the hole in the image is divided. The focus should be on the 2/3 area of the composition. Do not cut the piece into two halves. For builders and architects, make sure you show essential design details and consider how the spaces interact. Do not attempt to display too much. Keep the eye of the viewer on the most critical factors. A handful of great photos are more efficient than a number of poor ones. Go for quality, not quantity. The old adage is: “Less is more” Wide-angle doesn’t suggest one should display more just because it’s possible to achieve it. Every element in the photo must be able to support its own weight and contribute to the composition overall. All angles, lines, and parts must “work” in the image.
3.) Height
The angle that is low can be shortened and is excellent for some perspectives; however, it is essential to highlight the most critical aspects of the interior as well. It is necessary to have enough height to distinguish the components and keep the design neat and clear. Beware of clutter and having objects “grow away” from the tops of furniture or other furniture. Sometimes a higher view is needed, but generally, I find that looking a little less than the eye level (if you aren’t tall) is pleasant and pleasing. The more powerful you can see, the greater the distortion of the foreground; Furniture that is too close to the foreground (especially the round table) can be very blurred with a more elevated view. The foreground is often the one that determines the camera’s height. A foreground that appears to “fall” out toward the bottom of the image is uncomfortable and must be avoided by adjusting the camera’s size, camera location, or moving furniture back away from the foreground.
4.) arrangement:
Once the angle has been established typically, the furniture needs to be adjusted to match the dimensions and shape of the image. Sometimes this can be simple, but in instances, it can be pretty extreme. A harmonious composition and balance must be achieved, and any issues like furniture distortion as well as tangents, distortion, and “busyness” are dealt with during this stage. I always put the most significant pieces first and then move on to more miniature furniture after that. Everything should be in order starting with the direction and the relationships of the table with one another and their relation to the space. Always set every aspect “to camera” as the room settings could appear odd from a different perspective, but it’ll appear right from the camera angle, and that’s the only thing that matters.
5) Props:
The last element of the set is the arrangements for the props. Start by clearing out everything that is cluttered and carefully putting things back in place or looking for other items that complement the setting. Bookshelves are set up to appear more uniform and precise Desks, work areas, and desks are thoroughly cleaned. I tend to include freshly cut flowers or plants in order for a way to “soften” the appearance and feel of the room and books to fill up space on tabletops, etc. I prefer enough height to hide the edges of my image, and taller plants help with that. Kitchens can be a challenge to put up; they have to appear neat and tidy but also appear livable. I usually employ bread, fruit bowls, and flowers. Simple breakfast options with orange juice, coffee bagels, newspapers are influential. Be mindful of the chairs’ legs as they can be swamped If not correctly handled. In workplace settings, chairs for conference rooms should include wheels and legs that are all moving towards the exact direction. The chairs should be positioned exactly the same although they might appear different from another angle, they must appear identical from the camera’s perspective. A neat, well-styled, and uniform appearance, yet flexible enough to feel real, is essential to a successful propping. One of the crucial characteristics that an interior photographer should possess is patience and is highly meticulous. It is necessary to get everything perfectly aligned; the orientation of the handles on the cups as well as the arrangement of a bouquet of flowers as well as the space between items placed on tables; the lampshades should be straight and not distorted, and the color of the pages in the book in its open state. Every aspect of the interior photo should “play” with and interact in conjunction with one another and also within the context of the entire.
6). Lighting:
Good lighting differentiates photographers with average lighting from top photographers. Lighting defines the atmosphere of the space and creates a 3D look. The latest trend, mainly due to the rise in digital photography, is to utilize a lot of ambient lighting. For specific clients and in particular conditions, this might be acceptable. However, when compared to the effects that good lighting can make for the environment, it’s bland, dull, or “dead” My method of illumination varies based on the setting and the photographer; however, my approach is always the same: I use lighting to produce stunning photos, and my lighting enhances the area, and I employ my lighting to guide the viewer’s eye throughout the scene and show crucial details and elements of design. A beautiful photograph always looks superior to the real thing. Sometimes my lighting will improve the lighting, and other times, I completely transform the inside or outside or the exterior of the structure. It doesn’t matter if the lighting setup is complicated or straightforward; great lighting will continually improve the overall appearance of the photo. It will create shadows and highlights as well as distinct tonality (especially when dark shadows and tones) and enhance texture. It adds saturation to the hue and brings a sense of life to what could otherwise be a boring photograph. Whatever the beauty of the setting is and how well the lighting creates ambiance, adding lights can always help the overall look of the scene. The one exception could be in big spaces. And even lighting strategically placed in the right places can have a significant impact.
Like everything other aspect of life, to succeed in a particular area, one has to be enthusiastic about it. Photography of interiors is a specialization field that isn’t for the faint of hearts. A photographer who is interested in interiors should be highly meticulous and possess a passion for, and at a minimum, an average understanding of the design and architecture of interiors. The client can often wholly rely on your knowledge and experience of the things that “works” within the photograph of the interior should be at the same level as the professional you are working for. Personally, I find the mix of aesthetics with technical information to be very satisfying. Every shooting is like making a maze. The work never gets boring or dull.
