Commercial Photography II | Buildings…Inside and Out

Buildings…Inside and Out

Shooting with natural lighting on an overcast day emphasizes the details of this ornate building facade.

In this week's lesson, we will explore the ins and outs of photographing architecture—literally. We will focus on photographing the interiors and exteriors of buildings.

Some key topics this week include the best way to use natural light to take pictures of intricate facades and how to light and stage a room for a photo session.

In this lesson, we'll learn what architecture and interior photography is, discuss potential clients, and examine some specialized techniques, equipment, and challenges. Let's dive right in.

In this lecture, you can expect to:

Learn the purposes of interior and exterior photography.
Learn how to prepare for a building photo shoot.
Learn how compositional techniques can improve your building shots.
Learn how understanding technical considerations can improve your building shots.
Explore different types of interior and exterior photography clients.

Interior decorators depend on commercial photographers to capture their work on film.

If time permits, drive by your next building shoot at various times of the day to determine the best timeslot for the shoot.

Don't forget the standard rules of photography when shooting commercially.

Look for repeating patterns when you compose your shot.

If the reflections are too overwhelming, turn off the lights and change your exposure.

Sunglasses and polarizers don't mix! In the right position, your circular polarizer can cancel out the light falling perpendicularly to the light being canceled by your polarized sunglasses. This will lead to complete darkness.


Interior Versus Exterior Photography



Architectural photography is a specialized genre that refers to the photography of buildings and structures. True architectural photography is all about capturing what is distinctive about a building: the lines, shape, and materials.

In this class, we'll look at the photography of buildings in a broader sense. We will veer a bit from the traditional definition of architectural photography, so I'll use the phrase exterior photography to describe photos of the outsides of buildings and interior photography to describe the photography inside buildings.

Exterior photography usually focuses on capturing line and design elements and is often photographed utilizing natural light and time of day to create the desired image.

Interior photography is also about line but it relies more heavily on artificial lighting to enhance the story.

We'll use the term interior photography in reference to shooting not only the inside of a building, but also to to describe photos of things inside the building. For example, an interior decorator might hire you to photograph things placed inside a room. In this situation, the photo is about the how the things relate to the building, not simply about the building itself.

Who Hires Architectural and Interior Photographers?

The easiest way to visualize this genre of photography is to think about who might be your potential clients…

  • Real Estate Agents
  • Construction Firms
  • Architects
  • Building Vendors (Flooring, Fixtures)
  • City Marketing Departments
  • Interior Designers
  • Hotels, Bed and Breakfasts
  • Small Businesses
  • Event Rental Venues
  • Airbnb hosts
Decorators and designers need images of their work in action in order to attract new clients.

Building vendors such as the supplier of this tub and its fixtures need more than just photographs of their product, they need photos of their product installed in a finished space.

With such a diverse set of clients, there are plenty of styles of photography that fall under this category, including:

  1. Real Estate photography

  2. As-Built Photography

  3. Advertising

  4. Product Photography

  5. Business Profiles

  6. Lifestyle


In the first part of this lesson, we'll go over techniques and challenges that apply to exterior and interior photography as a whole. In the second part, we'll break the styles down individually, looking at specific situations you'd encounter in each situation.

Breakdown of a Building Photoshoot - Before the Shoot

Some of the important work in a building shoot occurs before you've even unpacked your camera, so we'll start our lesson there.

Time of Day

The "right time" of day depends on the look you are trying to achieve. For example, the pleasing reflections these buildings created in the water would not exist at a different time of day.

Time of day is one of the most critical decisions you'll make regarding your photographs, especially in regard to exterior photos. The exterior of a building may look drab or uninteresting during one part of the day but may come to life with the addition of certain shadows or with the warm kiss of dawn or dusk.

Buildings don't move (usually) so give yourself the time to watch a building throughout a day if you can spare it. You will not be disappointed. If you can't pre-watch a building, don't be afraid to ask your client about the light and shadows at certain times of day. Dawn and dusk are often beautiful for architectural type photography, but be aware of where the building is in relation to the sun or you might find yourself in a tricky lighting situation.

Don't overlook night as a time for shooting buildings and other types of architecture. Sometimes the most unexpected and unique photos come from a night shoot.
Image Credit: Michael Shelton

Time of day matters when shooting interiors as well. Natural light pouring into walls of glass (or even into small windows) can make a room come to life. Bright scenes outside a dark room cause challenges, which we'll look into in the section on technical considerations for interior and exterior shoots. Shady scenes outside a dark room often react nicely with minimal extra effort, so knowing what time the front porch is in shadow might be key to pulling off your shoot of a living room.

For this building with a very dark interior, I planned a shoot at a time of day when the sun was less intense in the courtyard and when there were more shadows toward the door area.


The photography of building exteriors might be one of the only times in photography when "bad" weather is in your favor. A clear sunny sky or a bland overcast day adds little to a typical building. Big, fluffy clouds or even dark ominous ones are almost always preferable. Reflections of buildings in puddles or even lights reflecting off glossy sidewalks after a rain will add pop to your scene. Snow falling on a home with glowing windows and smoke coming from the chimney looks inviting and homey.

This image of an abandoned, weather worn house is much more impactful with a sky full of fluffy clouds than it would have been with a blank space above. Image Credit: Phil Compton

This theater exterior has a lot going on, so the blank sky isn't a huge detriment, but more color or the texture of clouds would still help.

An overcast sky can be great for shooting exteriors that have a lot of depth. The lack of sun and shadows allows the viewer to really see the details on the door and its archway.

Patience is the name of the game in architectural photography. I have a colleague who calls me every time rain is in the forecast, checking to see if I want to go out and shoot the Golden Gate Bridge. He has tried for years to capture a very specific type of cloud cover with the bridge.

Weather conditions don't affect the interior of a building as drastically but they still matter. On a grey day, you might have soft, easy light falling throughout the building. On a sunny day, sun pouring through a skylight or creating shadows on the wall might add a nice mood to the image.

Breakdown of a Building Photoshoot - Composition

You are finally ready to break out your camera! In composing a photograph of a building, you follow the same rules as with other genres of photography—mind the rule of thirds, use leading lines, and frame actively. Keeping certain additional elements in mind will help you to have a smoother shoot.

Symmetry, Repetition, and Movement

Good architects design buildings based on line. Our job as photographers is to exploit that inherent line to our benefit.

The symmetry of this composition allowed the bride and groom at the center to stand out even though they are very small within the frame. I chose to include the three arches at the bottom because they echoed the shape of the larger arch at the top.

Paying special attention to symmetry provides endless opportunities for pleasing composition. A touch of asymmetry is a great element as well.

I enjoyed the unique and repeating element of the rocks in the staircase and the overall organic and free flowing feel of the shot. I felt that the very straight and square hint of door would help to anchor the scene. The asymmetry here is successful.

Repeating patterns or designs can add resolution and sophistication to an otherwise boring composition.

The repetition of pedestal and sculpture here draws your eye through an otherwise bland rectangular room. The repetition of color and shape are working together.

Don't neglect the curves built into a design, they'll add movement to your scene. You can create even more of a sense of movement and place by adding fast moving humans, cars, or animals to a long exposure of a space.

The curving lines meeting at a point near the top do exactly what this building is designed for: they draw your eyes toward a celestial being.

Mirrors and Reflective Surfaces

Reflective surfaces pose particularly frustrating compositional issues. What will you do if you are in love with an angle, but see a reflection of yourself and your camera in the shot in a mirror?

You've got three options. First, move the mirror. Second, move yourself. Third, remove the reflection using some Photoshop retouching in post-production. If you take the retouching route, you can minimize the amount of work by hiding yourself and triggering your camera via remote control or time release.

In this photo, the photographer chose to position himself directly between the two mirrors so that there were no pesky reflections to retouch later. In order to be in that sweet spot of zero reflections, he had to accept a bit of distortion of the space. Image Credit: Phil Compton

In this image, a reflection was unavoidable. I did my best to minimize post-production work by stepping into another area and firing my camera with a remote.

The finished version of the previous photo, with the reflection retouched out using the Photoshop clone tool. Notice I also did some clean up of distracting elements on the counter top.

Counter tops and shiny desks also create distracting reflections. Simply turning off the offending light is the best option. Retouching to remove the reflections is another possibility.

In the left image, the reflecting light on the counter is distracting. Turning the lights off would remove the reflections but would also change the exposure. In this case, retouching them out as simple as two clicks with the healing brush in Lightroom. Image Credit: Phil Compton

Certain reflections can be helped with a polarizing filter. You'll find a polarizer particularly helpful when shooting exteriors. A polarizing filter works to cut out light rays in one direction at a time. For example, polarized sunglasses cut the light of the sun, creating more contrast.

One popular photography polarizer is a Circular Polarizer. When attached to the front of your lens and spun around, the polarizer will cut light falling from a variety of directions. If you look through the lens while you spin, you'll notice reflections are decreased in some positions. A polarizing filter will decrease the amount of light that falls onto your lens, so you'll need to compensate with added exposure.

Notice how bright the yellow taxi is in this window display shoot I did for Hennessy.

In this photo, I used a circular polarizer to dim the reflection of the taxi a bit. The polarizer affected the inside of the store as well, creating more focus on my subject, the window ad. Also notice how the box and bottle at the bottom pops much more in this shot.

This more extreme example of polarization was taken inside, with the main light source being a glass wall of windows behind the camera. You can see the effects on the reflections in the polarized image on the right. Note also that these images were post-processed identically, but in the right version the base of the display looks black and in the left version it is improperly colored.

When shooting while ambient light is at a minimum, take a long exposure and set your ISO low.

If you are shooting buildings, keep your lines straight—just as the architects intended.

A toilet never looks good with the seat up—always close the lid before you shoot!

A work site may have a specific set of safety rules that you'll need to follow. Find out about dress code and access restrictions.

A good lifestyle photograph shows what could happen in a room rather than what exists in the room.

Breakdown of a Building Photoshoot - Technical Considerations

There are certain technical concerns that apply to building photoshoots. We'll look at those in this section and explore some more advanced technical concerns at the end of our lesson.

Exposure and Camera Settings

Obviously, you'll want a properly exposed photo for most uses, but with architectural photography you may choose a different approach in the way you get there.

Since the majority of what you'll be photographing doesn't move, a long exposure (slow shutter speed) with a tripod and remote control is preferable to a jump in ISO. Plan to keep your ISO as low as your camera allows in order to avoid noise in your final photographs.

This exposure of an exterior at dusk was nearly a second long. By using such a slow shutter speed, the photographer was able to keep his ISO rating at only 250. Long exposures can make white balance tricky, so be sure to take a grey card shot with the same settings during your shoot. Photo credit Phil Compton

My client asked me to photograph this ladies room while I was doing another shoot. I didn't have any lighting equipment with me, so I had to rely on ambient light in this very dark room. Luckily, the light walls and floor kept the mood of the resulting photo cheery. My ISO here was 100 with a long exposure of 1/4 second.

Aperture settings are as usual a personal choice and should be used to express your creative message. Real estate photography often requires sharpness so that viewers can see details in a listing, so you'll want a small aperture like f22 (remember—the bigger the number, the smaller the aperture).

The photographer here made sure to keep a nice small aperture so that the dining room in the background would remain sharp as well as the foreground. In other genres this might create confusion about the focus of the image or unnecessary clutter. In real estate photography, sharp focus in most of the frame is critical to allow potential buyers to see the property.
Image Credit: Phil Compton

For an interior or exterior shoot you might be facing a combination of natural, ambient, or artificial light. Natural light is light that occurs from natural sources (think sun/moon/stars/windows). Ambient light is existing light that doesn't occur naturally (think streetlights and room lights.). Artificial light is light you add to the scene yourself.

Light Modifiers like reflectors/fill, diffusers/scrims, and flags will allow you to shape or change the light falling on a scene.

In this photograph, the ambient lighting (mostly coming from a window to the right of the frame) was lovely and created the feel I was going for.

In this contrived photo I wasn't confident that the existing lighting would work to my liking, so I brought along strobe lights. I ended up using one strobe bounced off a wall to the left of the frame. Natural fill light came from windows behind the camera and off camera to the right.

White Balance

Proper color temperature can be complicated when photographing buildings. Usually, you'll find yourself in a mixed lighting situation. You might encounter warm sunset or cool open-shade light coming through windows and doors, tungsten lights in kitchens and bedrooms, and florescent in accent lamps. Add in some daylight balanced artificial lighting and you could easily have four or five different color temperatures in one shot.

Luckily, your mind is someone used to making sense of this scene already. This means you don't need to worry about every single light source matching every other light source. You do need to pay some attention though.

In this mixed lighting scene, I neutralized the bedside lamps and the daylight falling on the foreground. I could have done a local adjustment to remove the yellow cast on the bathroom but chose to leave it as is instead.

My approach is to neutralize the focal point, then address other color temperatures on a case-by-case basis. For example, if my shot is largely tungsten, I'll set my white balance to neutralize that yellow cast. I might choose to let the cool or warm light coming through the windows exist as is or I might use an adjustment brush in post production to neutralize it as well.

If the under counter lights are creating a yucky green, I'll just turn them off. If I add strobe lights, I'll gel them so that the light they cast matches the tungsten lights in the rest of the shot.

In this room, there were 3 different colors of uplighting as well as tungsten lamps and window light. I chose to neutralize the foreground tabletops, letting the rest of the scene fall where it may.

A grey card is helpful in these types of shoots, but in the end decisions about white balance should be made based on your creative judgment, not on technical algorithms. An overly warm exterior might create just the mood you are looking to inspire. A cool, sharp light could be equally effective in the right context.


One of the biggest and most multifaceted aspects of shooting buildings relates to distortion. Architects work hard to create straight lines; it's our job to represent them that way. Keeping your horizon straight is pretty simple—keeping the vertical lines straight is more complex.

You probably know by now that using a wide-angle lens can cause some major warping or distortion of your subject. In certain genres, this might not be a big deal. In photography of buildings, it is!

In small spaces, you'll be tempted to rely on the widest angle lens you can get your hands on, in some cases even using a fisheye lens. In these photos, you might be able to make things look straighter using the Lightroom lens correction tools like the "upright" function or using Photoshop's "transform" tools.

When possible, step back and use a longer focal length lens. Suddenly, your lines will be much straighter!

In this image, there is quite a bit of distortion, as seen especially in the lines of the archway. Credit: Phil Compton

In this photo, the lines of the archway have been straightened using Lightroom's lens corrections, however, the adjustment added further distortion to the sinks and foreground. Notice that much of the top of the image was also cropped in the process. Credit: Phil Compton

One area of distortion that does not relate to your choice of lens is called parallax. Parallax is the effect or narrowing at the top that occurs when shooting upwards. Think about standing under a tall skyscraper. The base of the building is huge in front of you, yet the top of the building seems small. This is parallax.

There is no single fix for parallax; rather a combination of things will help you. A step back, perhaps across the street will help immensely. The Lightroom and Photoshop straightening tools we discussed above will nudge you even closer toward your goal. You may not be able to achieve true straightness with these steps, but you'll likely get into a range that seems acceptable to the human eye and mind.

An advanced technique to remedy parallax would be the use of a tilt-shift lens (or a traditional large format camera with its many built in tilts and shifts).

In this image, the parallax effect can be seen in the side columns, even though the building wasn't very tall.

Lightroom's lens corrections work very well here to straighten things out.

Photographer's and Production Assistants

Don't underestimate the value of an assistant on set during an interior or exterior shoot. You'll be happy to have that extra set of arms when trying to block light from a window or to hold your reflector in a proper position towards a shadow area. Whether you bring a photo assistant or a production assistant, you'll be happy you made this hire. If you took the Photo Setup course refer to your notes on photographer's and production assistants.

Types of Interior and Exterior Photoshoots
Hotels and Real Estate Listings

Shooting photos of real estate, apartments for rent, or hotels is a market waiting to be tapped for anyone with a strong portfolio.

When shooting for hotels, you'll be working in small spaces but will still need to show plenty of detail. This shot is my creative take on a double room. My customer was happy with how pleasing it was to the eye, but felt that it would be unclear to the customer whether the beds were twin size or queen size.

You'll need an established portfolio in order to snag a big hotel client, but real estate agents and landlords are more approachable. A selection of photos of your own home and the homes of a few of your friends and relatives will give you a leg up.

No matter how big or small the client, the goal is the same—accurately represent the space, taking care to highlight the positive features and to downplay the drawbacks.

Some clients have the mentality that real estate photos are purely informational, and will want to get a cheap deal. In actuality, a good set of photographs can significantly increase the final price of a sale or rental. You might have to educate your client about this value.

When pricing for real estate, be mindful of the fact that most of these photos will be used for a very short time in a small geographic area, after which they will be retired forever. On the other side of the coin, you can be sure the broker is getting their cut—don't sell yourself short.

Hotels and BnBs will be using their images commercially, possibly in large advertising campaigns. Remain competitive but charge the market rate.

Enticing photos like this one beckon in a customer. In this hotel, the owners wanted to create a sense of luxury and an impression of comfortable bedding.

When shooting real estate, think about what you'd want to know if you were buying or renting a space. You'd want to see if a closet is roomy or cramped. Is the tub luxurious or is there a shower only? Highlight any unique features of the space like vintage touches, bay windows, or under stair storage.

While not a very charming photo, the designer of this home felt it was very important to show the unique feature that each bathroom had a bidet.

I like to approach a real estate shoot from the outside in. I start with a few shots of the exterior. At least one of these should be wide enough to show the whole structure. If the property is nice, I take one that is even wider to show off the land. I grab shots of any charming or functional details outside (pool, outdoor furniture, or drought-tolerant lawn).

When working from outside in, I try to take exterior photographs of the whole building, in addition to grabbing some closer details of important parts like the front door, the porch, or the landscaping. Shooting at a variety of times will allow the character of the property to come to life. Image Credit: Phil Compton

I approach hotel photography the same way, showing the exterior of the hotel or the room number.

Next, I move into the building and take overview and detail shots in each room. I pay special attention to details like large closets, high ceilings, and work spaces. Although not always the most compositionally pleasing, I am sure to show some ceiling and floor in at least some shots. This allows the potential renter whether there is carpet or hardwood floors and the types of light fixtures, fans, temperature control systems that each room has.

Eye-catching wide shots that give a good overview of each room are a must. This image gives the potential buyer tons of information about the type of light fixtures and widows, how many outlets in a room, and how the flow feels from room to room. Image Credit: Phil Compton

Photos showing details like a shower niche and stainless steel fixtures help entice viewers to buy.

A great Behind The Scenes look at an interior photoshoot can be found at


Everyone needs photos for their portfolio; architects and construction teams are no different. If you live in an area lush with new building activity, you might find a solid market for this type of work. In addition to approaching architects and contractors, think about reaching out to other vendors. For example, the company that makes insulation would need photography of a home-in-progress in order to showcase their work. Electricians, HVAC companies, plumbers, tile layers, marble workers—there are any number of possible leads in this field.

This image of a structure in progress does a great job of situating the future home within the context of the land around it. It creates a feeling and mood that any team would stand behind. Image Credit: Phil Compton

Construction sites are hazardous and unsafe for ordinary people to just appear unannounced. You will not attract new clientèle with this approach. A better way would be to reach out to companies by calling or walking into their offices. You might mention a desire to help them photograph a specific site you noticed or make a more general pitch.

Even a building without walls can benefit from a shoot at the right time of day.

The set up of an As-Built shoot varies based on a client's specific needs. You might spend a single day shooting around the site, capturing shots of the crew in action, the structure alone, and details of building materials. You might approach it as a shoot over the course of a few weeks or months, documenting the progress through each stage of building.

Whether or not to include a contractor's truck in this shot depended on the purpose of the image. In this case, the photos were to show the personality of the crew. If the photo had been part of a series of progression photos, I would likely have had the truck removed.

Ads, Product, Lifestyle

The potential clients we've discussed in the last two sections (hotels, real estate agents, construction vendors) all have a product or lifestyle they are trying to sell. You can add interior designers, furniture companies, and others to that list as well.

  • In Real Estate and As-Built photography, the goal is to show a space in an informative fashion while also creating a visually pleasing aesthetic.
  • In Advertising, Product, or Lifestyle photography of buildings, you are looking to communicate a feeling and mood, and have more creative options to do so.

A lifestyle photograph of a living room doesn't need to show that there are five wall outlets in the room nor does it need to highlight the half-wall separating it from the kitchen. A lifestyle photograph of that room would create a mood of airiness, light, and plenty of room to live the moments that are important in life. You'll add in some props, hire a few models, give yourself a shallower depth of field and suddenly you'll be creating the story of what could happen here rather than capturing what exists here.

Unlike As-Built photography, which requires a construction site, or real estate photography that usually shows the very basics if it is furnished at all, lifestyle photography can be done easily in your own home. You can work up a solid portfolio without leaving your house.

Business Profiles

Business profiles diverge from our other genres a bit. Generally speaking, a business profile is about the things inside a structure, not about the structure itself. The rules of composition, technique, and staging still apply, as does the general outside to inside approach to a shoot.

A solid business profile contains a mix of exterior shots, wide angles, and details. In this exterior sign photo, I used the trees in the foreground and background to draw attention into the center of the frame.

In this wide shot I've captured some of the feel of the business, including its quirky personality. The addition of people gives the shot a more lifestyle feel.

This detail shot rounds out what viewer learns about the business.

This is another area where clients are aplenty, even in smaller markets. With Yelp, Facebook for business, and company Web sites there is always a need for some fresh and professional photography. If you pitch, price, and deliver appropriately you are sure to have some clients in no time.

My suggestion is to start small and with your personal connections, then work up to the big time. Did you notice a new boutique opening in your neighborhood? Offer them a photography package. Do you visit the same gym, restaurant, or doctor's office regularly? They can use some photography too!

Case Study: The Crucible

Here is an example of a business profile I put together for The Crucible, a makerspace in West Oakland.

  • 1. A good business profile usually starts with some estabilsihing exterior shots, paying special attention to include the business name.

  • 2. Here I've captured their lobby/entrance area with reiterates their name and shows their welcome desk too.

  • 3. Every business will require different photos to tell their story. Here, I have a glass blower at work in one of the many artist rental spaces.

  • 4. Highlighting the mood of a business is important. In this case, The Crucible has a very gritty, industrial feel combined with an attitude that handmade (in some ways old/antique) technologies are best. The vintage signage and warehouse feel of this shot conveys that.

  • 5. Another artist at work in a rental space. The Crucible appeals to all, so I worked to be inclusive of all genders and personality types.

  • 6. An informative shot of one of their workspaces.

  • 7. Another artist at work.

  • 8. Grabbing a bird's eye view can often give you a unique shot of a business. Here, you can see the various rental spaces from above.

  • 9. A shot of the owner outside his office rounds out the profile.

Once you've established yourself, start looking for larger clients who might need to use your services more regularly. Event rental venues (for weddings, parties, or corporate events) are an overlooked area for this type of photography. City marketing departments, museums with changing exhibits, or retail clients with seasonal offerings are all great places to find recurring business.

When shooting rental venues, the same rules apply as those you saw in real estate photography. The difference is that rental venues are best shown when already set up for an event.

Be sure to highlight any special features, in this case the custom light show.

Advanced Techniques

Artificial Lighting

We talked very briefly about artificial lighting in the white balance section of this class. Lighting is a complex technique, so if you took the Photo Setup course refer to your notes on how and when to use artificial lighting.

I'll mention here that the more windows a house contains, the more helpful additional lighting can be. Your added lights will help to equalize the brightness of the interior to match the exterior, allowing proper exposure of both windows and rooms simultaneously.

The Dugly Habits lighting tutorial demonstrates how you can create three different atmospheres in one single room.

HDR and Bracketing

In some situations you won't be able to properly set the exposure for all parts of a scene in a single shot. In that case, some preplanning in camera will greatly ease the work required in post-production.

I knew that the image on the left would be properly exposed for the interior but would have a blown out window. To compensate, I took an additional photo with a darker exposure so that I would have all the data contained in the window. Using layering in Photoshop, I manually created an HDR photo composite.

Your camera has the option to Bracket, to take a series of photos of varying exposures in quick sequence. Since you'll be on a tripod for your interior shots, every frame of the bracket will be identical except for the exposure. Most cameras will allow you to choose how many frames and what differences they will have. For example, you can shoot three frames with a two-stop difference between them—this would give you a 'properly' exposed image, a shot that is two stops too dark, and another that is two stops too light.

Once you get home with these three images, you'll have proper exposure for each element in your scene and should be able to mesh them together to create one photograph. This merged image with extended tonal range is called HDR or High Dynamic Range.

The first image above is a combination of the last two images. I took an exposure for the room and a second exposure for the Barber pole. Using Lightroom's automated photomerge, I combined the two images quickly.

A caution, however! It's easy to take an HDR image too far, so that it begins to look fake. If this is a creative choice that reflects your aesthetic, fine. If it is not an intentional look that you are willing to stand behind and justify, you probably should back off on your adjustment.

Interactive Tours and 360° Views

Certain companies want to provide their customers with interactive tours and 360° views of a space.

These advanced techniques require certain software and equipment and have many special considerations that are outside of the scope of this class. I encourage anyone with particular interest in this field to do independent research. It's a fascinating technique!

Although not the most grammatically accurate tutorial, a walk-through from of how to do virtual tour photography is a great place to start your research.

Learn the characteristics of a product and food photo for e-commerce.
Learn which e-commerce industries need product and food photographers.
Learn setup and lighting tips for e-commerce photo shoots.
Learn some industry standards for shooting products and food for e-commerce.

Share your thoughts and opinions about the shooting a building's interior and exterior in the Discussion area.

Plan and carry out a photo shoot involving the interior and exterior of a building.