Hey all,
First time posting. I am a photographer looking to start my architectural/interiors photography business. I am currently shooting on a crop sensor nikon d5200 which I would eventually like to upgrade to a full frame.
So my question (in your opinion) is what could I be doing to improve the quality of my shots either shooting or processing? How does one know when he/she has reached the limit of what a crop sensor can produce? Should i just be upgrading right away to a full frame since I intend to photograph commercially or are they already up to scratch for work?
Images were shot in natural light, I try to avoid using speedlights as I really love the natural look.
They are all single exposures hand held, ( I do use a tripod also) Edited in lightroom and photoshop.
Thanks!
Hi Keelan, thanks for sharing your photos.
The three images you posted here are great straight-on shots. Well done. You also have a good eye for the detail shots. Here are some suggestions.
1) Yes, definitely get a full-frame whether decide to stick to interior or not. I think every professional should have at least one full-frame camera. But, in the mean-time, you can use PS to interpolate to a higher res. Everyone I submit professional photos to will not accept less than 4200 pixels on the widest size. So your current sensor won't give you this. You will need to interpolate up.
2) I saw your profile listed a super wide lens. That's good. When I shoot interiors, I shoot my detail shots with a 50 mm and my overview and cover shots with a 10-20 mm.
3) For a more comprehensive critique, I would submit at least one wide angle shot of the entire room. I prefer head-on compositions like you do, but customers will also want to see the room from an angle (i.e. from a corner), and sometimes the space won't allow you to take head-on. So, get comfortable with doing both.
4) In general, the three image you have would be too dark for my photo editors. So, think about making them brighter. Use reference images from your competitors or customers to let you know how bright.
5) I love the moody (high contrast) atmosphere, but my customers wouldn't appreciate them. They would be considered "artistic". So, try to tone down the contrasts and shadows. Your second photo is my fave by the way. Kudos to you for not blowing out the window and protecting your highlights.
6) Everything looks well staged, clean, and de-cluttered. Nice.
I look forward to seeing what others have to add.
enjoy :-)
Thank you very much Mark for your feedback, its great to get some perspective, These photos were shot with a 35mm but I do have the wider lens also. I think the overall brightness was something I was thinking about so thanks for the advice.
The below image was shot with the 11-20mm.
Thanks!
I think Mark gave you some very good advice, and I have some comments, but first I need to know what kind of clients you're shooting for before I can give advice. Are you shooting for realtors who need at least 25 interior/exterior photos for the MLS, or are you talking about working for builders and interior designers who need just a few shots of two or three rooms? To me, there's a big difference in output, style and technique. Your first three samples suggest that you're working for builders and designers, but your last sample suggests that you might also be considering realtors.
Hey John,
I am marketing myself for architects/ builders/ interior design which is what I would like to be shooting. But I'm considering doing a few real estate shoots in between "The Big Jobs" as I dont really expect to be shooting for an architect everyday. I prefer the quality over quantity approach to photography.
The first three photos are aimed towards interiors/ design. The last photo was more of a reply to Marks comment about shooting in the corner of a room. I've never really liked the three point perspective because it looks "Real estate-ish" so I try to avoid it when i can.
Any advice you have would be greatly appreciated!
Thanks!
I disagree that you need more than 24mp. Do I have full frame bodies? Yes. Do you NEED to also? Not necessarily. Your images are fine. It really depends on who your clients are and what their requirements are.
I think your detail images are nice, but the first one is a bit flat. Try to add a slight curve to boost the brighter areas. Your wide shot is nice too, but the mix of blue daylight in the shadows is a bit distracting. See if you can balance the warm and cool into a homogeneous color temperature. And the sky to the left of the curtain looks like you burned in overexposed sky to a dull detail-less grey. Just let it go whiter. Maybe brighten it up overall too. Lastly, there seems to be a slight amount of keystone distortion.
You're on a good roll!
Thanks John for the feedback,
I am aiming my business towards architects/ interior designers so I expect the images would be used for brochures, magazines, billboards, web use. I guess what I'm trying to say is would going to a full frame improve my photography to the next level or is it more my experience (not the camera) holding me back. Or it might just be both haha.
There was a large window behind me letting in all that blue light, So I agree evening out the colour temp would look nicer.
I did try to mask out the blown out window cause I thought it was a bit distracting but I may have over compensated.
I think it was shot at 11mm and just cropped in for photoshop so there is probably a bit of distortion in there, I adjusted the verticals the best I could. Is there something in post I could do for better results? Or just suck it up and get the Tilt shift lens?
The main main two things you tend to get from a "full" frame (35mm equivalent) vs APS-C are improved dynamic range and improved color depth. Resolution is moot since you don't need anything over 8 MP for pretty much 100% of client needs. The ONLY reason you would ever need anything more is if a client wanted a 6 ft poster of one of your images in their office where they'd be looking at it from 2 feet away, and that's quite a rarity. If a potential client ever wants that, you can rent a hi-res camera for a couple days.
A secondary reason to go to full frame is if you want to invest in tilt-shift lenses and take advantage of the wider lenses like a 17mm.
You're welcome Keelan. I like the Transform panel in LR, even after I've carefully shot with my TS-E 17mm or 24mm lenses.
About 11 years ago I shot these for a Los Angeles architect who had CAD renderings of the rooms that looked just like 16 or 17mm three point perspective views. I didn't duplicate his artwork in terms of camera positions, but I thought it was interesting that they're "seeing" it with a wide angle POV. So don't think it's all just one point perspectives that they're wanting, that's all.
https://www.johnmaclean.com/ARCHITECTURE/Lean-Arch---Kuhlhaus-1/1/thumbs
OK, let's deal with the FF or APS-C question first.
I have been shooting interiors and architecture since the 80's and started with 4x5 then MF. My first digital camera was a 6MP Canon 10D. In every case the client was delighted with the quality.
The defining issues with the photography is your eye and technical skill in lighting and PP. FF does offer technically better IQ but this is far more of a marketing difference than a meaningful difference that clients will ever notice. Probably the biggest issue for interiors is the paucity of ultra wide angle lenses in APS-C. Then again one should always use the longest lens one can to achieve their composition.
You already have demonstrated a good eye for the details, just refine your abilities in post processing.
As for your images, these are very nice examples of what designers and shelter magazines are looking for. They are NOT what real estate photographers are looking for.
I would study magazines like Dwell to see what they are looking for in their lighting and composition standards. Generally they would like to see a bit more snap and brightness in the first and third images.
I would also overcome any reticence about using lighting. Many images that we think of as naturally lit are, in fact, artificially lit.
The kitchen shot is a good example of RE photography but that shows the limits of natural light. The chairs are flat and dingy while the yellow of the lamps overwhelms the feel of the shot.
You will also find yourself killing yourself in post processing to overcome the limits of so many interiors with respect to lighting.
Using lighting well allows you to offer a premium product and charge actual money.
As you have a good base in composition I recommend you step up those other aspects (not too hard really) and make a real impression on your local market.
Thank you very much Indy, There is a lot of great advice here for me to work on.
I'm not opposed to the idea of using lighting it's just that I feel limited to what is achievable with my one speed light and ebay umbrella haha. But this again is probably due to lack of experience.
Is there more detail you could possibly give me in terms of post processing?
Less contrast? Highlights/ shadows? Saturation? I guess exposure level is something I should work on
Do you think there is room to be artistic with post processing when shooting for clients. Or is it usually just keep a simple formula?
Thanks!
When I was in art school we often had furious debates on "What is art?".
I noted (and still believe) that art is problem solving. One is at point A and needs to get to point B. The creative solution (even if it seems pedestrian) is the art.
In the same way, you bring your ideas to your photography that elicits the response of delight from your client (audience) that solves the problem (client happy, writes check, sings praises).
Too frequently, creativity is seen as setting the world on fire as a "new vision". All well and good but often results in many informative failures.
As to ideas on PP I would recommend YouTube LR tutorials on the subjects you are interested in. My ideas and tastes are informed by my experience and market. I would recommend you look at LOTS of images in publications you are interested in and see what makes them appealing.
A useful tip: describe every detail in the image. Every element and it's position, alignment of elements in the scene, the color and contrast, light direction, camera height, angle of view etc. This will help you see the components of the image and determine the keys you need to remember when shooting.
As for PP the images here I took the liberty of simply using a curve adjustment to brighten the scene with a tiny color correction. As there is no color chart for reference I tweaked it subjectively. You can do this if the products in the image are not color critical for the client.
Nice photo concepts Keelan,
Yes, asap for the full frame camera body.
Suggestions: (Every image can be interpreted in infinite ways. I stopped to comment, because I "felt" you have something going. (I love vignettes.) So that's a good thing. I caught the invitation. If a viewer won't stop to look a little, then the best technical image can be lost. These are just my personal artistic considerations for your consideration.
Are you shooting tethered? I live on a camRanger, so I can see the details in my hand. One of the best camera investments ever! An image the size of an iPad is different from live or in the camera viewer)
On the first image with the sofa and lamp:
Setup and staging is everything (next to lighting). Unobstructed views are my thing.
Try pulling things away and then perhaps in a different position. You'll be surprised with the feel of the image.
Turn the lamp shade to loose the seam... a visual distraction.
The plant is in direct view, blocking the picture frame. i would look for a different position.
The main frame is propped up by the lamp. I would love to see the whole lamp.
You have a glared out (or empty) second picture frame. I would either shoot the picture inside from a different angle and insert it in photoshop or move the frame to better position to see the image inside, if there is one there. In this case, less is more with the number of frames.
I can't tell what's on the table to the far left. Less would be more there.
You have blue daylight and yellow tungsten (mixed) in the same shot, which for me, is two different moods. Some may disagree. Again, my preference. I always carry a variety of light bulbs for color variation. I'm a sucker for lit lamps, but if you're shooting natural light, consider a whiter light or even turned off. Lights don't always have to be turned on.
Warm lighting is a very groovy thing. I would just stay consistent in the overall color temperature feel...one way or the other.
You're in the right direction, looking for a feel. Keep at it.
If I've gone too far here, I apologize.
Ron
P.S. Now that I've said all that, I can see where I need to improve my own photo artistry. Its so limited to critique one's own work. Thank you for the opportunity to participate.
Thank you very much Ronald, this is exactly what I needed. I'm also a recording musician so I live with critique from myself and others daily haha. I'm definitely used to it.
I want to shoot tethered, there is a camranger for sale not far from me for $150 so I feel I should jump on that straight away.
I do believe that you right in saying staging is everything. All the above photos were shot in new display homes and I didn't really want to overstay my welcome but it is definitely something I will think about in future.
I think the mixed colour temps is something I will pay more attention to. The kitchen shot doesn't look very good with the blue light on the chairs and island. But it was something that didn't even cross my mind.
Re-guarding the shot with the lamp, I consciously knew about the mixed colour temps and personally thought they kind of worked together. But it is and easy fix in photoshop.
Thank you very much for your time and advice!