Interior Photography

insights

a practical guide to commissioning professional photography

Interior photography is—perhaps surprisingly—one of the most technically demanding types of photography there is. I’ve been doing it for many years now, and I can promise you it’s a lot harder than it looks… at least if you want to do it well.

There’s a wide range of clients who need professional interior photography, including:

Interior designers wanting to document completed projects for portfolios, publications, and social media
Interior magazines and other editorial publications
Furniture and lighting brands needing content for catalogues, websites, and campaigns
Architects looking to record and communicate the experience of their finished projects
Hotel and restaurant owners (see also my hotel photography guide)
Property developers and real estate agents marketing high-end residential and commercial spaces
Showroom and retail spaces needing images that showcase their interiors and brand values

It’s a job that demands a high level of technical and creative skill—as well as a strong visual culture and a refined sense of style. It’s not something every photographer can pull off. So I’ve created this short guide to share some insights and offer practical advice for property owners, designers, and marketing professionals who are planning an interior shoot and looking for the right photographer.

How to Plan a Successful Interior Photoshoot

1. Choosing the Right Photographer

The first thing to bear in mind is that there are different levels of photographers — just as there are different levels of clients. It makes sense to match the quality of your photographer with the value and positioning of your property or brand. Naturally, this will be reflected in the price. Choosing the cheapest photographer to shoot a high-end property may not be a smart investment. I’m occasionally brought in to re-shoot a location because the client wasn’t satisfied with the results from a previous photographer — which means they end up paying twice. If you want quality images, it’s worth budgeting accordingly.

On the other hand, for a modest property like a small AirBnB rental, there may be little to gain from hiring a high-end photographer, whose work might not offer enough return on investment in that context. When reviewing a photographer’s portfolio, try to assess whether the level of properties and brands they typically work with aligns with your own needs and expectations.

Here are some other things you should look for, and to ask, before booking a photographer...

What experience do they have?

A good interior photographer should be able to demonstrate experience in that specific field — not just general commercial or event photography. They need to understand how to read a space, control perspective, and highlight aspects of design and function. Look for consistent lighting, strong compositions, attention to detail, and visual style in their portfolio.

Do they understand your market? - Whether you're a furniture brand, an interior designer or a real estate developer, your photographer should understand the standards and expectations of your specific market.

Do they work with a clear process and timeframe?
Interiors require time and care. There’s often styling, tidying, lighting adjustments, and precise framing involved. Good results rarely come from rushing the job. Ask how they approach a shoot, how much time they need, and whether they provide styling or retouching as part of the service.

Do they carry insurance?
A professional photographer should have public liability insurance to cover accidental damage or injury during a shoot. It’s a small detail, but one that shows they take their work (and your property) seriously.

2. Requesting a Cost Estimate
To receive an accurate quote, it’s important to give the photographer a clear idea of the scope of the project. For example, what is the intended use of the images? Which are the spaces or products to be photographed? Is there a certain style or format that needs to be followed?

Some photographers work to a precise number of images requested by the client and their costs will be based on that number. Others, like myself, are more flexible, as long as the client's expectations are achievable within the time and budget available.

In my case, the price for photography is calculated based on the time required to create and post-process the images. The more detailed the brief, the easier it is to provide a clear estimate. Generally, usage rights are included, and I’ll specify if any additional licensing is necessary.

Travel costs, accommodation, and expenses may also need to be factored in. For more complex spaces, or where public areas are in constant use, I may bring an assistant. This improves efficiency and allows us to deliver more and better images in the available time so it's a cost-effective choice.

Another thing to think about is whether a prop stylist is required. This is common for brands working on advertising or marketing campaigns that need to create a certain mood or atmosphere for the space in which their product is featured. A prop stylist sources or rents specific items for the shoot, working closely with both the photographer and the client throughout planning and production. This is generally costed and billed separately.

3. The Shoot

Preparation - Good preparation makes all the difference. When feasible — especially for more complex jobs — I may visit the location in advance to understand the space and lighting. In other cases, a basic floor plan or a few simple phone shots can be enough to give me a sense of what to expect. On the day of the shoot, all areas to be photographed should be clean, tidy, and ready for access.
Disruption - To get the best compositions and minimise visual distractions, I may need to adjust small elements — moving a chair slightly or repositioning an ornament. I’ll always take care to return everything to its original place before moving on.
Equipment and Safety I often use portable lighting to enhance the atmosphere and bring out the depth and character of each space. These are battery-powered lights — no cables trailing across the floor — but they are mounted on stands and placed throughout the scene. This should be taken into account in busy or working environments.
Timings - For private properties, I’ll agree an arrival time with the owner. I’m often left to work independently, which is absolutely fine — no need for anyone to stay on-site unless they prefer to. For full-day shoots, I’ll plan a lunch break and ensure there’s someone available to let me back in if I step out.
For commercial spaces, shoot times can be arranged around staff schedules, room availability, and client traffic. I also factor in natural light and weather conditions — timing can be critical to capturing each space at its best.

5. Post-Production, Image Delivery & Back-Up
For a photographer, the work doesn’t end when the camera is packed away. After a shoot, a significant amount of time is dedicated to careful post-production. This includes selecting the best shots, fine-tuning lighting and color, blending exposures where needed, and crafting the final images. It’s a meticulous process. Over the years, I’ve developed a technique that gives me full control over the final look of each image. If you're curious, here's a video that Manfrotto made about my approach to interior photography.

To make things easy for my clients, I generally deliver two complete sets of images:

- High-resolution files for print use (brochures, magazines, etc.)
- Web-optimized files for online use (websites, social media, email newsletters)

Each version is prepared with the correct resolution and color profile so there’s no need for additional adjustments on your end.

While you should save a copy of the images on your own system (and ideally a backup as well), I also maintain multiple backups of every job—both locally and in a long-term cloud archive. That means if you ever misplace your files, even years down the line, I can resend them without issue.

6. And Finally...
I hope you have found this guide useful. If you're thinking about commissioning some photography and you want to talk through your ideas, feel free to get in touch — I'm happy to offer advice or prepare an estimate, whether you're ready to shoot or just starting to plan.

Thanks for looking!

Colin Dutton