| Interior photography is very demanding and the | | | | interiors. Here are some pointers that you may find |
| photographer must be sensitive to all the elements | | | | useful and helpful: |
| that will appear in the final print. Most rooms consist | | | | Look out for lines that will lead to the focal point of |
| of small objects that look good in the room, but in a | | | | your image. By leading with lines into the main part of |
| print, these objects may cluster the image. | | | | the scene you will draw observers into your |
| Photographing interiors involves working within a | | | | photograph. These lines don't have to be straight. |
| confined space, so the first thing you need is a | | | | They can be a row of seats or interesting |
| suitable lens. Most of us would prefer to use a | | | | converging vertical objects. |
| wide-angle lens, but this lens causes problems with | | | | Simple foreground objects are also perfect for |
| image distortion. Distortion is a large and common | | | | composition. Patterns on a floor can give your interior |
| problem when shooting interiors, but can be reduced | | | | a greater sense of depth. Use a small aperture (f/22) |
| if you use a lens with the focal length set between | | | | to keep the entire scene in focus. |
| 80 and 100. | | | | Try to frame your scene with some of the elements |
| Interior images should be bright, with perfect | | | | in the room. This will focus attention on the main part |
| exposure and have fresh vibrant colours. This is the | | | | of the picture. |
| standard used by publishers all over the world. To | | | | Tiles on the floor and walls can be very handy as |
| achieve this the photographer must be able to | | | | composition when photographing a room - use the |
| control these elements and have a very good | | | | tiles to focus attention on the focal point of the |
| understanding of light. | | | | room. When photographing bathrooms, if possible |
| Light will play an important part when photographing | | | | exclude the toilet. Always try to exclude anything |
| interiors. Most of your images will be shot with a low | | | | that you think is distasteful. |
| shutter speed, because natural light levels will be very | | | | Sometimes framed pictures hanging on walls will |
| low, so a tripod will be needed. If the natural light is | | | | appear distorted so it is best not to include them. If |
| good, use a reflector to bounce the light into the | | | | you are photographing someone's home ask the |
| dark areas of the room. | | | | owner before you move items. |
| If the natural light is not good enough you will have | | | | Good interior images are not easy to take but the |
| to use a strobe unit. Try to bounce the light off a | | | | rewards are great if you can master the trade. If |
| photographic umbrella to soften the light in the room. | | | | you are unsure of the standard, buy some of the |
| If you are using more than one light have some | | | | magazines that use these images. Publishers pay fine |
| reflectors with you. | | | | prices for well exposed, good quality indoor images. |
| Composition is very important when photographing | | | | |