Listing Interior (Final Shot) - Two-flash setup

It’s not a perfect interior photo, but I think it’s pretty decent based on the difficulty of the area and the limited number of flashes.  The image is well exposed except for a couple of dark areas and a few blown-out highlights.  If I could, I’d add in one or two more strobes to better illuminate the cupboards, minimize shadows, and try to prevent light falloff.  Most importantly though, I managed to balance the interior and exterior light.  If you remember from Part 1 of this series, a common problem is when the interior and exterior light cannot be balanced, which was the case with this room.  Here’s a shot taken without a flash, using full-frame metering:

Listing Interior - Without Flash

According to the camera’s metering system, the photo above is perfectly exposed.  However, we can clearly see that the shot suffers from both over and under exposure that has rendered most of the visible areas useless.  In order to compensate for this problem, we need to add light to the interior – which is exactly what I did.

So, here’s how I did it:

1) Select a Metering Mode
As usual, I started by observing the scene and determining the areas that were both brightest and darkest.  There was nothing I could do about the sunlight/window, so I decided to use it as my principle level of exposure.  I set my camera to Spot Metering, which we discussed a while back, so that I could target the bright window area.

I spot metered my camera to the window and manually configured the settings to f8 for my aperture and 1/200 second for my shutter speed to allow for a decent depth of field.  I metered the shot at 200 ISO.  Here’s what I ended up with:

Listing Interior - Spot metered to windows.

Now, this photo may look absolutely terrible, but it’s exactly what I wanted/expected.  The exterior light is no longer overexposed, and it gives me a point of reference for my interior light requirements.

2) Add Strobe/Flash #1
Now that we have a reference point, it’s time to add the first light.  I set up the first flash to the left of the camera, and I bounced the light in an umbrella.  Bouncing the light softens it, and makes for less distinct shadows.  The light stand was erected as high as I could get it, and angled down on the dining area.  I initially set the flash to 1/2 power, but increased the strength after a couple of test shots.  A light meter would eliminate the need for trial and error, but we’ll get into that another day.  Here’s one of the test shots:

Listing Interior - One-flash test shot.

On the positive side, the interior and exterior light are closer to being balanced, but there are a few reflections, and dark areas that require attention. Sometimes you just have to tweak the placement of lights and continue doing test shots to get it just right.

3) Add Strobe/Flash #2
Once you get the first light in a good location, it’s time to add the second into the mix.  I didn’t have a lot of room to maneuver, but I found a good spot at the end of the room to the right of the camera.  Here’s the basic floor plan with camera and flash placement:

With a bit of tweaking, I was able to get a shot I was happy with.  Flash #2 was erected to about 5-6 feet, also bounced off an umbrella, and set at 1/2 power.

I had to perform some minor color correction to the final image in Adobe Photoshop, as I chose not to use color correcting gels.  The image was shot in RAW which allowed for some added flexibility in both exposure and color temperature.  You can use this method with any number of lights, just keep adding them in until you have enough.  It’s a bit more time consuming, but it is a great way to stand out from the crowd – and we all know that in real estate, standing out from the crowd is a very good thing.

If you choose to shoot in the direction of an uncovered window, which is often unavoidable, you’ll have to concede to the brightness of the sun.  You can minimize the intensity of light by shooting at a different time of day (dusk/dawn), during overcast, or by blocking the window with curtains, but it’s not always easy to reschedule shoots, and some windows are best left wide open.  If you find yourself shooting in this kind of scenario, there are a few gear options to choose from (and each will vary from person to person):

Option #1 – Full Control
A full setup involves three or four strobes (flashes), a DSLR camera body, wide angle lens, some Pocket Wizards, light stands, reflectors/umbrellas, a metering device, gels, and a tripod.  The advantage here is that you can really control where you add light, the amount of light, and the softness of the light.  Furthermore, Pocket Wizards will allow you to set up wireless so you can position lighting where you want with minimal clutter.  Proper light metering and color correction will allow for all-around consistency in exposure which provides maximum detail with minimal noise.

The downside to having full control is that the gear is pricey – I’d estimate about $4,500 minimum for everything, unless you were able to find some used items or opt for lower quality gear.  The other thing is that all of the gear can be a bit cumbersome to lug around.  A decent-size lighting bag and another camera/lens bag should be expected.  Batteries, memory cards, clamps, filters, adapters, editing software and other random gadgets/gizmos can add up too.

Option #2 – Basic Control
A basic setup involves two or three strobes, a DSLR camera body, wide angle lens, light stands, and a tripod.  Gels are optional, but you might have to do a slight color correction afterwards if you choose not to use them.  Instead of reflectors, light can be bounced off of ceilings, walls, or even sheets of paper.  Pocket Wizards are best, but new flashes have built-in, infrared communication, so for simple setups that works fine.  You may choose to pick up a commander unit if you want to avoid using on-camera flash.  Also, a little trial and error will allow you to eliminate the light meter if you have to.  It’s important to note that the quality of the photo will suffer after cutting out equipment, but sometimes it’s better to learn using the essentials, then add equipment as required.

The basic setup still allows us to get a nice wide view of the room, and target our light at dim areas in an attempt to balance the intensity of interior and exterior light.  You might have a hard time getting perfectly balanced light in all areas of the room, but it will still be far better than using no lighting at all.

Option #3 – HDR (High Dynamic Range) Processing
HDR for interior listing photos requires a camera with a wide-angle lens (not necessarily a DSLR), editing software, and a sturdy tripod.  It is by far the least expensive of the options, but not always the easiest.  HDR images require practice, and may suffer from noise, color inaccuracy, and/or tone issues.

There are some HDR real estate photos out there that are stunning, and others that look like quaint little homes from M83.  I highly suggest tackling HDR photography only if you have a good eye for realistic color and tone.

Next, we’ll discuss setup and some issues to watch for while shooting.

1) The “PC Sync Cable” – One of the more archaic methods of syncing your camera and flash is by running a cable between them. Not all camera bodies or flashes have a PC outlet, but this problem can be overcome through the use of a safe-sync adapter or a PC sync adapter. The cables are generally inexpensive, but can sometimes be hard to find. Furthermore, since many cameras and flashes have custom-sized, proprietary outlets you need at find the exact cable for your needs. Also note that the “PC” is a term often associated with the phrase “personal computer,” but in this case it stands for “Prontor-Compur” and derives from a brand of shutter.

2) The “Off-Camera Shoe Cord” – Similar to the PC Sync Cable, this cord also physically connects your flash to your camera. The advantage here though is that you can continue to use the TTL (Through the Lens) mode on your flash. Essentially, this allows your flash and camera to communicate so that an accurate amount of light is produced by your flash in accordance to your camera settings. This product works without the need of PC outlets, instead using your camera’s hot-shoe, but each camera will require a custom cord in accordance with its make/brand.

3) The “Infrared Transmitter” – With infrared technology you have three choices for setup:

a) Flash (master) to flash(es) (slaves)

b) Infrared transmitter to flash(es)

c) Camera to flash(es) – In order for your camera to directly communicate with a flash it needs to have the infrared transmitter built in.

The disadvantage here is that the infrared signals have a maximum range of around 30-50 feet depending on your location, and cannot communicate very well around objects. TTL modes can be used with infrared technology.

4) The “Radio Transceiver” – Radio transceivers are by far the most flexible in usage, as they communicate well in complex environments and have a range of up to 1600 feet. One transceiver is affixed to the camera’s hot shoe (the transmitter), and one is required for each flash used (the receivers). You cannot use TTL mode with radio transceivers. See Pocket Wizard for more details.

For those eager to learn more about off-camera lighting techniques, please visit one of my favorite photography blogs:  Strobist.

Bay Window – Sunlight (6000° Kelvin = Blue)
Light Fixture on Ceiling – Bulbs (3500° Kelvin = Yellow-Orange)
Dark Corners – Shadows (7500° Kelvin = Dark Blue)

So with all of these conflicting Kelvin temperatures, how could anyone shoot an accurately colored photo?

In most residential homes, you can simplify your options to either daylight balanced or tungsten balanced.  First, you must determine your primary light source, and then attempt to match the rest of the room to it.  For instance, if a large bay window illuminates the room, then opt for daylight.  If there are no windows, and the primary light source is a ceiling fixture, opt for tungsten. 

When shooting daylight interiors you may choose to work with the natural ambiance, and turn your flash off.  Ensure that your white balance is set to daylight, and use a tripod if the shutter speed is too slow to hold it still by hand.  If you need more light, use your flash (which is also daylight balanced).  More experienced photographers may choose to use a lighting system where the flash is not physically connected to the camera.  Most external flashes today can communicate with the camera or another flash via infrared signals so there is no need to string cables around the room.  You may also choose to turn off any tungsten-balanced interior lights if they affect the coloration of the photo.

When shooting tungsten lit interiors, you might again choose to work with the natural ambiance, and turn your flash off.  Just ensure your white balance is set to tungsten.  Because tungsten light is a lower Kelvin temperature than daylight, you will likely need a tripod if you want to shoot at a lower ISO.  If you need more light, you will have to use your flash.  Yes, you can convert a flash from daylight to tungsten. 

To convert your flash you will need:

1)      “Gel/Filter samples booklet” – available at all production/studio lighting stores, and many photography shops.  They are often free and rarely priced over $5. 
2)      Tape
3)      Sturdy Paper

First, loop a 1-inch wide strip of paper around your flash and tape it down.  Cut out the “CTO +.3ND” filter (Color Temperature Orange +.3 Neutral Density Filter) from the sample booklet.  This will be Lee Filter #207 (alternate brands: Cinegel #3405, E-Colour #207).  Lay it over the bulb of the flash and tape it down onto the paper.  You should end up with a scoop-like filter that can be slipped over your flash (see sample before and after).  Now you have a tungsten-balanced flash!

If you chose yellow, you’re not alone.  When we think of light we often associate it with the color yellow.  In photography however, understanding that light exists as a spectrum of colors is vitally important.  To a camera, sunlight is actually registered as blue light, which derives from its Kelvin temperature.  In fact, the color behind every photograph is based on one thing: the Kelvin temperature of the light source.  When the camera’s white balance and the light source match, only then will the photograph have accurate color.

White balance is the process of telling your camera what white is.  Once the camera knows what white is, then the whole light spectrum can be more accurately calculated.  All digital cameras have a white balance setting, and most never budge from AWB or Auto White Balance (which automatically chooses a Kelvin temperature for you).  However, if Auto White Balance was a perfect system, then one might argue that there would be no reason to have all of those other mysterious options. 

In the provided image we can see how the most common sources of light vary in their Kelvin temperatures.  The associated symbols for these light sources will vary slightly between camera brands, but should be inherently obvious in regards to their meaning.  If unsure, consult your camera manual.

For those in the real estate biz, spending time shooting photos for the purpose of online marketing, listing brochures, newspaper ads, and other various postings is an expected duty.  As more and more people are going online to shop for real estate, one thing can be said for certain:  Buyers love photos.  Yes, physically viewing a house is better, but browsing photos almost always comes first. 

Unbeknownst to them, real estate agents are expected to shoot in the most complex lighting environment possible – the average residential home.  Most rooms receive light from interior sources (i.e. light bulbs – similar to tungsten or fluorescent), and from exterior sources (i.e. the sun shining through an open window).  Add a few lamps, dark corners, and confined spaces and voila! – Instant real estate photography situation.

Stay tuned for some useful lighting tips, tricks, and techniques that will assist you when shooting your listing photos.