For the sake of the curious reader’s interest, I will divide the process of photographing interiors into two positions, and I will give several useful comments on each.
it makes sense to divide according to the following criteria: by the angle of coverage, associated with the focal length of the lens, and by the method of illumination.
It is important for the customer to know this in order to formulate exactly the technical task required for the photographer.
Part 1. About the angle of view in interior photographs.
Here are three completely different photographs. And all of them are needed in specific cases for specific customers.
So, in the first case, we see a photograph of an interior segment with the usual proportions of objects. Developing tulle emphasizes lightness and naturalness. The viewer senses that large windows can open. The viewer sees that the interior is accessible to sunlight.
In the second case, the Client needed a photograph that would show this small room. The very appearance of this room was just a “corner of the walls”, so the photographer, squeezing into this corner, made a view from this “cabinet” into the kitchen. The perspective is somewhat hypertrophied with wide-angle optics, but the place is recognizable.
The third interior photo is a panorama. Thanks to this very format, the photographer managed to fit the night view from the penthouse into the interior field. Of course, this is just one solution to this space.
Now let’s look at two more photos taken for the same customer.
This customer is engaged in the installation of doors, very different. Before us are the closet doors and the balcony.
From the first photograph, it is clear that this is a perfectly normal photograph with an almost classical perspective. But in the second, we see an enhanced perspective. What’s the matter? The thing is that unfinished walls and a large chandelier interfered with the photographer. The photographer could not take a frontal photograph of the doors for objective reasons. The feeling of movement into the depths of the image is achieved through the open door to the balcony. A stream of sunlight enters from there.
To be honest, I love this photo of “balcony doors”. It turned out to be “morning” and memorable.
Now you know that interior photography can have different solutions depending on the situation. But they will all be based on real conditions.
Part 2. On the methods of interior lighting when photographing.
The main question that worries everyone and the customer and the photographer is one: whether it is necessary to take additional lighting to work with the interior. Personally, I take the minimum kit “just in case”.
If we lived in the good old days and worked on film or slide, then, of course, I would take all the studio equipment with me. And I could take up to 10 photos in a working day. But times are changing, the customer needs not slides, but files. It changes everything.
Spending time shooting with spaced lighting fixtures and careful lighting measurements is cool, fun, and highly professional, but not productive. In 90% of cases, I work with the following technology.
To create the final image in this case, it took 6 source photos. The photographer needs not only to see the composition, but also to understand the intermediate problems, + their solution.
Frankly, it is almost impossible (or very long) to take this photo without digital sophistication. The fact is that the intensity of light from any source decreases quickly (like the square of the distance), and in our photo there is a deep background.
This image would have taken a couple of hours without digital correction. But computers changed the world.) If you remember that for a set I made blanks for 30 final images, then the advantages of the digital method are obvious.
However, there is another method of photographing interiors – this is
The main problem with this method is that there is often no room for large lighting softboxes in the interior. In addition, the light decreases in proportion to the square of the distance and it is not always possible to achieve uniform illumination. The third problem is the violation of natural design lighting. Not all of these problems occur at the same time and are not always scary.