Interior Photographer London

There are two main reasons why you mostly want to use a tripod for architecture photography.

First, a tripod will perfectly stabilize your camera/lens setup, which fully mitigates any possibility of motion blur from hand-holding the camera. Additionally, if you’re on a tripod, it’s much easier to create sure your camera is level Secondly, there’s no good reason to not use a tripod (I follow the final rule that, unless there’s an honest reason to not have a tripod, I always use one). If you were tracking subjects that required quick movement and recomposition, then a tripod would be a hindrance. But, for architecture photography, your composition will always sit nice and still for you, supplying you with all the time within the world to line the shot upright. the best situation for a tripod. Interior Photographer London gives amazing tips on how to do interior photography.

Whenever possible, use a flash

If you shoot a space indoors without a flash, you’ll typically get shadows scattered around the room. employing a flash for interior architecture will help balance the exposure across the complete frame.

Interior Photographer London

This is how I typically use a flash. Put the flash on a tripod or a stand, and place it some feet aloof from the camera (on either side of the camera if you employ two flashes for larger rooms), and a foot roughly behind the camera. Aim the flashes in order that they are pointing up at the ceiling, but also slightly off from the area you’re shooting. At this angle, the sunshine from the flashes will illuminate the space indirectly (i.e. bouncing off the ceiling and walls), creating a soft, even, fill-in light for the area you’re shooting. Set the flashes manually at half power (one-stop below full power) and fire away!

When shooting whole rooms, don’t get too wide

When I first started taking practice photos of architectural photography, I used the widest angle lens I could get my hands on to shoot entire rooms. My thinking was that with an ultra-wide lens, I could get more of the area within the frame. But more isn’t always better. I quickly noticed the high level of distortion towards the perimeters of the frame, especially in smaller rooms where the sides of the frame were at wide angles to the camera.

So, I experimented with different focal lengths and came to the conclusion that between 21mm and 28mm gives you the foremost practical balance between limited distortion and a large enough frame to capture the character and presence of the scene. Ultra-wide lenses (i.e. 14 or 15mm) will make the perimeters of the frame look oddly stretched and off the horizontal plane, even when corrected in post-production.

If you’re during a situation where 21mm won’t capture enough of the scene, a panorama is usually an option – which segues nicely into the following tip:

Try panoramas for ultra-wide shots

Set up your camera vertically on the tripod (which creates a taller pano). Then, ensuring you adequately overlap the scene in each shot, do your best to create the camera rotate on a wonderfully level, horizontal plane, with the pivot point being roughly where the lens meets the camera.

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