Advertising has become so integral to our daily lives that very few of us even question it.  Love it or hate it, we all know when we see an ad, as they tend to have those surreal qualities – those fundamental ingredients in the recipe for desire.

For real estate agents, marketing tends to work on two fronts: market your listings and market yourself.  Both feats require a substantial level of planning and effort, but if done right, you can quickly separate yourself from the pack.  Of all the things you can do to enhance your marketing, improving the core photographic elements should be at the forefront.

Turning photographs into advertisements

In terms of marketing yourself, a proper portrait is a must.  For real estate agents, your face is as important as your brand, and having an archive of four or five quality head shots will help you to advertise yourself as an industry professional.  Take these sample photos of real estate agent, Eric Billingsley, that compare a photo taken by a friend and a photo taken by a professional fashion photographer:

The five professional photos Eric received cost $200, but he assures that the “photos have more than paid for themselves.”  I know who I would choose if the two photos above were competing agents. Quite simply, professional photos resonate that above average quality that attracts consumers when purchasing products or services.

The same idea needs to be applied when marketing your listings.  A home is one of the biggest purchases a consumer will ever make, yet the visual marketing used to sell homes does not always stimulate a sense of desire. Photos have always been an important feature when marketing real estate, and even more so now as the majority of people shop online.  Here’s another comparison put together by Papilios Real Estate Photography that shows an amateur and professional photo of a listing.

The bottom line is that quality visuals attract buyers, please sellers, and enhance your visual appeal.  If you haven’t already, take the time to critique the photos you’re using to market yourself and your listings, or better yet, ask others to provide honest feedback for you. Ask yourself what the images say about you and your business, and determine if they can they be improved.

If truth be told though, wintertime photography can be a lot of fun, and the photos you can achieve can be quite stunning. There’s a certain brisk, freshness to winter photos, and snowfall can often create a sense of minimalism adding emphasis to the focal point. I went out the other day, and snapped a quick shot to use as an example:

As one may expect, wintertime real estate photography involves a bit of practice and often a few editing tweaks to achieve a pleasing final shot. So let’s get started on the tips and tricks.

Timing is Critical

Like all listing exterior photos, I recommend shooting while the sun is rising or setting in the sky. As winter days are shorter in length, and the sun stays lower in the sky, you will have more flexibility than during summer. Aim for days with clear forecasts so you have a better chance of puffy clouds and blue skies.  I suggest choosing between morning or evening based on which direction the house faces – you’ll want the light to fall on the front face of the house.

The reason why early/late light is beneficial is because the sky will polarize better, and the low angle of the light will add texture and dimension to the snow. If you go too close to mid-day, the snow and skies will likely overexpose, or appear bland.

Precise Framing/Cropping

How you frame your photo will vary from listing to listing, but always try to make the snow work to your advantage. Think minimalism, and try to add emphasis to the property. Balancing your listing between snow and sky will help hold a viewer’s attention. If you’re unsure, always shoot wide and crop afterwards.

One problem you may encounter is an abundance of dirty snow, especially if your listing is near a busy street or walking path. Try to crop/frame out dirty snow patches as much as possible. If there is a walkway leading up to the house, you can use it to lead the viewer’s attention up towards the property. One other thing worth mentioning, is try not to breath too heavily around your camera. Breath will fog up the lens and soften your focus.

While shooting, play with a few different angles so you have lots to choose from later on. Sometimes a shot looks great in the viewfinder, but only mediocre during the editing stage.

Perfect Exposure

If you have your camera set on JPG mode, then you may want to bracket your photos to ensure that you get a pleasing exposure. If you’re shooting photos in RAW format, they’ll likely have enough flexibility in exposure to attain the shot you want from a single file, but bracketing can be a safe bet nonetheless.

Most camera’s have a bracketing feature built in so that you can quickly obtain three or five shots of the same scene at different stops (exposure levels) with ease. If your skillset is advanced, I suggest using a tripod, so you have the ability to blend the exposures using exposure fusion or HDR techniques later on.

If you’re eager to try blending exposures, I suggest using PTGUI Pro ($113 US) for exposure fusion, or Photomatix($99 )for HDR. If you prefer using free software, then I suggest Enfuse GUI for exposure fusion, or Picturenaut (Windows only) for HDR. I’ll talk about the differences between each in a future post.

Fine-Tuned Edits

There are only three main edits that need to be performed on a wintertime photo: color, contrast, and levels – preferences will vary, so take my recommends as a guideline only.

When I’m editing a winter shot, I like to push my highlights (snow, clouds, etc.) very close to the point of overexposure. My intent is to have very pure looking snow with a slight cool blue tint. Adding contrast will increase the subtle texture in the snow, and emphasize features on the listing. Always aim for realistic color, but if you have to choose between cool and warm tones, go with cool. If possible, try to counteract the cool tone of the sky and snow with a bit of warmth on the house. The final image should look like a cozy home just waiting to be lived in.

If you have a few wintertime beauties that you’d like to share, feel free to add them to our Flickr photo group.  Or feel free to add any additional tips, or ask questions in the comments area below. Happy shooting!

Over the past fifteen years I’ve spoke with a lot of people about photography, and heard a lot of interesting stories and aspirations.  There’s one thing I continue to hear regularly that still bugs me though, and it usually starts off with someone saying something like, “I want a camera that takes good pictures,” or “your camera takes beautiful pictures – which one is it?”

The issue here is that the tools of the trade are being confused with the knowledge held by the user of those tools – quite like attributing a quality paintbrush to the creation of the Mona Lisa rather than the exquisite skill of Leonardo da Vinci.

It’s a harmless misconception, but one that leads many people to believe that great photographs result from expensive gear, not knowledgable, intuitive, and patient photographers.

The truth is, great photography is not limited to a certain camera.  Cameras are tools and they need to be selected based on the job at hand.  To put it in perspective, a landscape photographer like Peter Lik (depicted below) can be seen using equipment like the Linhof 617s ($9000), and a Hasselblad H4D-50 ($30,000).

However, he chooses this equipment because his style demands the best equipment available, he’s tremendously skilled, and because he can sell photos for up to one-million dollars each.  That being said, there are countless amazing photos out there that were taken with inexpensive equipment, or even homemade pinhole cameras. A great idea, clever ingenuity, and/or rich knowledge can make great pictures out of any camera.

As for real estate photography, it is a very specific photographic job that I believe benefits more from experience than it does equipment.  That being said, there are the “right” tools for the job, or at least ones that will give you the proper control required to create eye-catching photos.  So if you find a listing photo that you love, don’t praise the camera – seek out knowledge and guidance from those who have learned effective shooting methods so you can produce similar results.

If you’re keen to share some of your own work, feel free to submit them to the Point2 Agent Flickr Group.

]]> http://point2agentblog.com/2011/01/13/choosing-the-right-tool-for-the-photographic-job/feed/ 8 http://point2agentblog.com/2010/11/18/how-to-listing-photos-at-dusk/ http://point2agentblog.com/2010/11/18/how-to-listing-photos-at-dusk/#comments Thu, 18 Nov 2010 22:07:45 +0000 Bryan http://point2agentblog.com/?p=6454 When I’m scrolling through a library of listing photos, I find myself most attracted to those shot at dusk or dawn. There’s something about the warm glow of a house contrasted against the cool sky that is not only punchy and attention-grabbing, but wholesome and safe. I’m no anthropologist, but I’d be willing to bet [...]]]> When I’m scrolling through a library of listing photos, I find myself most attracted to those shot at dusk or dawn. There’s something about the warm glow of a house contrasted against the cool sky that is not only punchy and attention-grabbing, but wholesome and safe. I’m no anthropologist, but I’d be willing to bet it has something to do with our instinctual attraction to a warm fire glowing from within a comfy cave.

Even though these types of photos are arguably more attention-grabbing than daytime ones, there are good reasons why most real estate exteriors are not shot this way. For one, dusk shots are harder to execute – they require higher level camera knowledge. Secondly, they involve more elaborate setups often involving powerful fill lights, not to mention the task of turning on every light in the house prior to the shoot.  Lastly, these shots require accurate planning, as the window of opportunity is extremely short (dusk generally lasts about 30 minutes).

When to Shoot
The trick is to shoot your photos at the time when the sun is just rising or setting which, of course, varies depending on the time of year. For dusk shots, aim for the time when the sky is a deep blue but has not yet faded to black. If you arrive to the house at dusk, you’re already too late. Always allow yourself at least a half-hour to prepare for the shoot – that is, turning on the necessary lights and setting up your camera equipment.  If you have extra time, you can always shoot a few interior shots.

Equipment Needs
1) Camera & Lens: A DSLR camera with a wide or mid-range zoom lens.  At the very least, a camera where you can control the shutter speed.
2) External  Flash(es) (Preferably Wireless): You can shoot exteriors at dusk using ambient light in some instances, but I would recommend having at least one extra flash to act as a fill light on the front of the house to balance the exposure – two flashes are even better.  The built-in flash on your camera is NOT powerful enough.
3) Tripod and Light Stand: A sturdy tripod that is capable of being set up on uneven terrain, and a flexible light stand or two so you can properly place your flash(es).

Comparison
Before we move on, lets have a quick look at two images of the same building taken by Tony Owen Partners. It’s interesting to compare these images, and it shows just how different the look and feel changes when a listing is shot at a different time of day. Both photographs are superb, and the design of the building is extraordinary, but if you’re like me, you’ll be drawn more to the dusk shot:

Process
Camera/Scene Setup: Start by turning on all the house lights (inside and outside) and make your way around the property seeking out the most interesting angles. Next, set up your camera and take a couple test shots to ensure your framing and focus are spot on. Aim for a slow shutter speed (from 1/3 second to 2 or 3 full seconds) – keep in mind that you will need to make constant changes to your shutter speed to accommodate the fast change in available light. Keep your ISO low (200-400), and open up your aperture, but not necessarily fully open (f4 or f5 should do – just try to find a point where you get a pleasurable depth of field). Keep the camera on a tripod at all times.

Lighting Setup: Set up your flash (if required) at a distance and crank it up to 1/2 or full power. You will need to know how far your flash can fire – the Nikon SB-900, for instance, maxes out at about 20 meters (66 ft). Try to get the light to wash over the front face of the house.  If you are shooting at an angle, you may need a flash angled at both the front and side of the house. Take a couple test shots to ensure proper placement.  A second flash can also be used to lighten foreground objects. If you are getting enough ambient light, you may not need a flash at all.

To trigger your flashes wirelessly use whatever method you prefer. Check out this old post for more information: How to: The Off-Camera Flash.

Shooting Method:
If you have a remote for your camera, use it.  If not, use the self-timer so that you don’t have to touch your camera while the photo is being taken. Even little bumps of the camera can lead to camera shake during long exposures. Keep an eye on your exposure and try to maintain a balance between interior and exterior light.  Cool blues and warm yellows are a good sign.

Ideal Listing Styles
Houses with swimming pools, reflective patios or sheer entranceways are extra good, as you can play with reflections, further enhancing the property. Properties that have numerous large windows help to invite the viewer inside, and further enhance that glowing attractiveness.  Luxury properties, or those with interesting design styles shoot very well.  Houses during the Christmas holiday season can be fun if they’re decorated.

The real trick is to practice, and take time to perfect your skills.  Happy shooting, and as usual, feel free to add in any additional tips in the comment area below!

Well, that’s simple.  You digitally modify it to make it look perfect, of course.

Before I get into how to correct distortion, let’s quickly take a look at some terms and definitions:

Keystone Distortion - when your photo has converging vertical lines that result from your camera being tilted downwards or upwards during the shoot.  Although the lines converge, they will still be straight, showing no signs of bowing/curving.

Barrel Distortion – when the vertical and/or horizontal lines in your photo appear to be bowing outwards as if inflated. Typically results from using wide angle and fisheye lenses.

Pincushion Distortion – when the horizontal and/or vertical lines in your photo appear to be bowing inwards as if pinched.  Typically results from fully “zoomed-in” telephoto lenses.

Alright, now that we’re all pros at understanding what causes photographic distortion, let’s look at some ways you can correct it in Photoshop.  If you remember this old post about lighting listing interiors, you’ll likely recognize the photo below.  You also might remember how Sara Maclennan of edmonton-homes.ca kindly commented on my apparent keystone distortion.

Interior listing photo with keystone correction.

Modifying verticals so that they’re parallel is not a complex edit in Photoshop, and like most edits there’s more than one way to do it.  So, here are the two most common ways:

1) Distort
The distort function can be found from your main menu at this directory: Edit > Transform > Distort.  If you can’t access it, it’s because the “background” layer is locked by default.  What you need to do is create a free-floating layer that can be distorted.  To do this, go to: Layer > Duplicate Layer.  Once you have a free, unlocked layer, then activate the distort feature.

Correcting keystone with the "Distort" function.

Essentially, what you are doing is pulling the corners of the photo outwards to counteract the keystone distortion.  You may want to use guidelines to ensure that your vertical lines are parallel.

2) Lens Correction
The lens correction filter can be found here: Filter > Lens Correction in Photoshop Cs5, here: Filter > Distort > Lens Correction in Cs2 – Cs4, and if memory serves me, was not available in previous versions.

Using the Lens Correction filter to correct keystone distortion.

Using a grid overlay helps to determine when your verticals are parallel.  You simply need to toggle the “Vertical Perspective” until your image looks squared off.  Hit “OK” and then crop your image appropriately.

In my next post, I’ll discuss how to counteract barrel and pincushion distortion.  Until then, happy edits!

The general standard for listing photos, especially interior shots, is to keep your vertical lines straight, while allowing the horizontal lines to create a sense of depth and perspective.  Achieving perfectly vertical lines is not difficult if you know how to set up the shot.  The trick is to keep your camera perfectly level, and elevated to about half the ceiling height.  Here’s a diagram and test shot I performed earlier today:

Level camera at half the height of the room.

Use a tripod to level your camera and fine-tune the height.  Most tripods have a built-in bubble level to assist with this process, but if you want to be certain that your settings are perfect, try using a hotshoe bubble level.  Having the level on your camera as opposed to the tripod legs, means that your camera is level – not just the tripod. Tripod heads can tilt and pan which can easily throw off your camera even if the legs are set perfectly.

If you set your camera too high, you’ll notice the vertical lines will converge towards the bottom of the frame.  The result is a slightly skewed and imbalanced look to the room. Here’s a sample:

Camera is set too high, and must be dropped down.

This “error” is common as people tend to shoot their cameras at eye-level.  Eye-level is commonly much higher than the mid-height of a room.

Alternatively, the shot may be taken from too low.  This “error” commonly results from shooting from one knee, or while seated in a chair.  As you might expect, the lines converge towards the top of the frame.  Here’s a sample:

Camera is set too low.

Again, the room feels skewed and unbalanced.  Although this type of shot is less common for interior photos, it’s extremely common for exterior shots where the photographer is forced to stand beneath the mid-point of a structure.  In other words, there’s not much you can do about it for exterior photos unless you want to shoot from further away.

Also note that the samples above were shot with a 50mm prime lens, which has no barrel/aspherical distortion.  Wider lenses, especially fisheye lenses, will amplify the skewing of your vertical lines and may add curvature to straight lines.  I’ll talk more about this problem in the next post.

For now, have a peek at some “real world” examples, and have a peek at your own listing photos.  You may notice that you have a tendency to to shoot too high.  I know I did

Three kitchen photos taken from different angles.