Photographing property: Tips for vendors and landlords

Most people rent or sell their property via letting or estate agents, and in a competitive market there is great service to be had – some agents using freelance photographers like myself to market their properties. For those preferring to market their own property here are a few guidelines to help you create attractive images of your house or flat.

What Equipment will you need?

Most cameras are suitable for photographing properties; you do not need gazillions of mega pixels for an image that will be displayed on the web. However, if you want to show as much of a room as possible in a photo, a dSLR camera will enable you to attach a wide angle lens (usually purchased separately).

I find a tripod invaluable for interiors. Photographing rooms in naturally light frequently requires fairly slow shutter speeds (around 1/4 or 1/8 second) to ensure the room is nice and bright.

A flashgun can be handy, especially in properties with small windows. More on working with flash later.

For the classic exterior shot with blue sky and fluffy white clouds, try a polarising filter. Be sure to get one that fits the lens you intend to use.

What shots should you aim to get?

At least one of each room – and two or three images of key rooms such as kitchen, lounge and master bedroom.

You may also want to shoot interesting features – a beautiful (lit) fireplace, wooden beams, built-in kitchen appliances, unusual design elements etc. I once nearly put an offer in on a house just because it had a door disguised as a bookcase – so be sure to grab people’s attention with anything out of the ordinary.

At least one shot of each garden is required, and consider attractive views that may be had through windows.

Corridors connecting rooms do not need to be photographed exhaustively, but capturing a hallway or landing that leads through to a lovely bright space can give an extra sense of what it is like to live in the property.

Which camera angles are best for rooms?

Shoot from a low angle – between waist and chest height – so you do not see lots of boring ceiling. An exception is when you want to show chandeliers or other features that are higher up.

Try to keep the camera level with the floor. Tip it up or down and “converging vertical” distortion (the sloping wall look) will increase.

Shooting from corners can create a greater sense of depth than shooting straight down the middle of a room. But don’t be afraid to centre and square beds and other prominent features. For smaller rooms, you may not have much option but to shoot from the doorway to show as much of the space as possible.

Arrange tables, chairs, sofas etc to make rooms homely and inviting, but also to frame your shots. The back of a sofa in the middle of an image will not look inviting; try framing the shot with the back of the sofa in the bottom corner, facing in.

What about lighting?

Shoot exteriors on a sunny day and try to capture front and back gardens in direct sunlight.

For interiors, the aim is usually to make rooms look light and airy. When using natural light, mid morning or mid afternoon are often considered the best times to shoot interiors, but in reality there is no “ideal” time for any given property, as this will depend on when and where your rooms receive sunlight. Perhaps counter-intuitively it can be easier to shoot interiors in overcast weather. Cloud cover diffuses sunlight, reducing harsh shadows and lighting rooms more evenly.

Opinions differ over the use of house lights in photographs. Some people think they should all be on, others think that is indicative of a house that does not receive much natural light. My personal preference is to keep room lights off, except:

  • where the glow from chandeliers, lamps, wall lights, ceiling spots, etc adds charm
  • where a room has no windows, such as some bathrooms or en suites
  • when you turn on lights in adjoining rooms to avoid dark sinister doorways

If a large television is present in the scene, turn it on to avoid a large black space in your photo.

Flash can help you light a room evenly, reducing deep shadowing. Do not use the built-in camera flash unless you really have to. It produces harsh, unflattering light, and may add more harsh shadows. Flash guns (available for many dSLR cameras) are a much better option as they can be diffused and their heads adjusted so light bounces off walls or ceilings – further softening the light. When “bouncing” flash light off surfaces be careful that the chosen surface is not too colourful, otherwise your pictures may take on some of that colour. Generally you use flash to supplement natural light, so try not to fire it on full power. You want it just strong enough to balance and enhance the light coming through the windows.

A final little lighting trick for suitable for rustic kitchens on sunny days: boil some water and waft the steam around so that it catches the sun beaming through the window.

What props should you use to ‘lifestyle’ your images?

Less is more with interior photography; nobody wants to see clutter. Be sure to tidy as well as clean thoroughly before shooting. If things are poking out from under beds or the tops of wardrobes you are sending a signal that there is not enough storage space. Rooms cluttered with too much furniture can also look smaller.

Remove “personal” items such as slippers, spectacles and family portraits – you want your audience to visualise themselves living in the property, so avoid strong personal stamps.

That said, some carefully placed props can make a house feel more homely:

  • glasses of water next to the bed
  • books or vases for coffee tables
  • flower arrangements on tables

Doors are best left wide open when in shot, especially in smaller rooms to avoid the feeling of a cell. Open windows too, where practical, to make the room look inviting and fresh.

Is that everything?

Nearly. I tend to retouch all property images in Photoshop; handy for adjusting light levels and correcting some camera distortions. You may not have time to do this, but do be sure to only upload low resolution images to the web. Any image editing software can reduce high resolution (printable) images to resolutions suitable for fast web browsing. If you do not edit images at all, consider using low resolution jpg settings in your camera. Web images rarely need to be over 1mb in size, and larger images may take ages to load in web browsers, making people skip on to the next property.

To chat about photography or Photoshop tuition for absolute beginners, call me on 07757 259390 or send me a message via email.

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Property Photography: Real Beauty is on the Inside – Part 1

I was originally planning to cover several cases in this study – including residential and commercial properties – but found there was more to say than I realised. So this first of two posts focuses on photographing residential property interiors for letting agents, estate agents and people renting out holiday accommodation.

lounge with wine and fire

Preparation begins long before any photographer turns up of course. If preparing holiday accommodation you might employ an interior designer. If preparing a flat for letting, you may refit kitchens and bathrooms or splash out on funky new furniture. But even if you are just preparing to sell one property as you move to another, a bit of ‘sprucing up’ will not go amiss:

  1. Keep it clean. Even ‘wide angle’ shots of rooms show up dust and grime.
  2. Keep it tidy. Clutter makes rooms look smaller, and is distracting and unattractive.
  3. Hide effects that are very personal (e.g. family photos) during the shoot.
  4. Consider a lick of paint if you haven’t redecorated for over five years.

twin attic bedroom

Most of the time it is desirable to make rooms feel bright and spacious (without distorting the reality of course). People assume wide angle lenses are used to make small rooms look spacious. This is true in the sense that wide angles capture more of a room than telephotos would.

bedroom with towels and lights

Another misconception is that photographers turn on room lights to brighten rooms that are too dark. Room lights do not generally light a room sufficiently for cameras to achieve an even exposure across the entire space. The same is true of window light – even large windows rarely light a room evenly. House lights are also not as powerful as window light (even on a cloudy day), so do not serve to create that bright airy look.

Besides, estate agents know that indiscriminate use of room lights may imply that a house is dark without them.

So, room lights are better off unless they are an attractive feature that deserves focus, or they help draw attention to another feature in the room. Our eyes are drawn to bright areas of images. With interiors, the brightest area is often a window; turning on a bedside lamp on the other side of the room won’t balance the light levels, but it can help lead the eye to that side of the image.

The simplest rooms to light are small windowless rooms that can be illuminated using just the ceiling light(s). A long exposure may be required to compensate for the relatively low power of household lighting, but with a tripod that is not a problem.

Most other rooms – that boast one or more windows on the world – are more complex – especially when the window is part of the scene being shot, as outside is invariably much brighter than inside. This often results in images where the room looks bright but the window area is ‘blown out’ (pure white), or where the window area is well exposed but much of the room (especially corners and ceiling) looks dark and dingy.

This is where flash can help. It brightens up areas the windows are not lighting adequately. At the correct settings you can achieve a perfect balance between the indoor and outdoor light levels (although I prefer to keep outdoor light a little brighter – it looks more natural).

window lit room

The flash built into most cameras is not suited to this purpose. Its light is harsh and unflattering, and can produce strong unnatural-looking shadows that distract the eye and ruin the image.

At the other end of the scale, if I were spending several hours getting shots of a single room for a high end property magazine, I might employ a number of portable studio flash units, each lighting a different part of the room or a different feature in the room.

That solution isn’t going to work for estate agents photographing a two-up two-down for their website. It might look fabulous, but few agents have hours to spend photographing a single room.

The compromise is ‘bouncing’ light from a flashgun off the walls and ceiling to supplement the ambient window light. Areas the window light doesn’t illuminate are brightened but because the flash is bounced you avoid the new (and harsh) shadows of direct flash.

It might be argued that this risks making a room look brighter than it really is, but in truth it is simply compensating for the fact that the camera is much more sensitive to varying light levels than are our eyes.


Lenses – especially wide angles – are prone to geometric distortions, such as converging verticals where rooms can end up looking like a set from the 60’s Batman series – acute angles with sloping ceilings and walls. Some of these effects can be corrected with Photoshop, although it is not always possible to correct every distortion as correcting one can emphasise another. Sometimes you just have to make a call on which distortion is most innocuous.

The degree of lens distortion is effected by the shooting position; corners may provide the most expansive view of a room, but they also result in more distortion. Sometimes a central view is better – especially if there is something like a bed or dining table to provide a ‘centre piece’. I also keep the ‘horizon line’ level and avoid angling the camera towards floor or ceiling.

A final point on angles: shooting from a standing position may seem natural, but it will likely include more ceiling than floor in the shot. I prefer to shoot from around waist height; unless there is a particularly diverting feature high up, ceilings tend to be less interesting than what is beneath them.

dining room and lounge

Usually there are one or two rooms in a property that I want to make a bit more of a fuss over – the living area, kitchen or maybe a master bedroom. That fuss may take the form of a bit of life-styling such arranging books / magazines / flowers etc on a table or worktop. It may simply be taking some extra close-up shots of something like a roaring fire or quirky features like a built-in coffee maker. If a large screen television dominates a room I usually turn it on – preferable to a vast expanse of blank screen. Recently I even pulled out my macro lens to capture the details of a keyless front door, ingress through which was granted by finger-print identification.

keys - detail of property character

Where there are no ‘stand out’ features, a bit of light life-styling in the lounge or kitchen can help give an idea of a property’s character. And that, at the end of the day, is what most property photography is about. You are not simply showing the structure and space, you are inviting people to imagine what it would be like to stay or live in that property.

The next case study will focus on photographing commercial properties and few more unusual interiors.

Some more examples of my interior photography can be found here. However, due to the nature of the work I do not put many examples of residential interiors on my website; they may, however, be viewed on request.

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