If your stunning interiors aren’t translating into equally compelling photographs, you’re not alone — and you’re losing business because of it. With over two decades behind the lens, interiors photographer Erin Little has witnessed countless talented designers struggle with photography that fails to capture the true essence of their work, leaving them frustrated as their carefully crafted spaces fall flat in images that look dated, sterile or simply amateur compared to the editorial-quality work filling the glossy pages of design magazines. Today we talk to Erin Little about the evolution of interiors photography and why your’s might need some updating.
The evolution of the lens
DNN: Over the course of your career, how have you seen the field of interior photography evolve technically and aesthetically?
EL: When I first began photographing interiors, I approached it in a more off-beat and creative way. I had no desire to capture perfectly technically executed images that seemed sterile, so I photographed my work with the intention of capturing the soul and emotion of a space. At the time, my approach was not valued or desired by a large number of clients.
But over the last ten years, more interior designers have sought out photographers who capture emotive images, ripe with mood and depth…Aesthetically, the industry has shifted to more atmospheric imagery, and there is much more creative interpretation allowed in regards to post-production, colors, and tones.
DNN: What role has social media played in reshaping the priorities or styles of interiors photography today?
EL: I have a love-hate relationship with social media. On the one hand, it allows me to provide the world with a constantly updated version of my portfolio, connect with prospective clients, and form relationships I never could have otherwise. However, I feel that because of social media, professional photography is not valued as extensively as it once was.
Clients want quantity over quality, due to the need for constant new content. And because our photos only live in a square on a grid for a day, the price our clients are willing to pay also is considerably less. I often think back to the greats in photography, and I wonder if the industry will ever produce one again due to the reduced appreciation for the craft.
Design through the camera’s eye
DNN: How can designers better prepare their spaces for photography?
EL: …Styling is such an essential component that makes or breaks a shoot. A lot of designers claim not to be good “stylists” even if they have an immaculate eye for design, because styling for photography is an entirely different beast.
When they invest so much into a photoshoot, not only monetarily, but energy-wise, it would be a huge asset to them to hire a stylist to take the photos from one level to the next. It can be such an investment on top of what they are already spending, but I can honestly say it’s worth it in the end. And often opens the door to more editorial features.
DNN: Are there common missteps you encounter (styling, lighting, scale, etc) that compromise the final image?
EL: Anything can compromise the final image. Not understanding how to light properly, not enough styling or not tweaking that styling to perfectly compliment the image, shooting too wide, having too much in your frame, etc. Every photographer has their own style, and there’s no right or wrong but technically you can botch things if you’re not skilled.
DNN: What distinguishes a space that photographs well from one that’s stunning in person but falls flat on camera?
EL: Honestly, I have photographed spaces that I thought would never photograph well, but once they are in front of my lens and I work on lighting to add depth and mood, they come to life. I’ve also photographed beautiful spaces that are just incredibly difficult to shoot due to layout. Either I can’t light them the way I want, or can’t get the angle I want, and you end up settling for a “less than” shot because it’s just impossible.
DNN: What is the difference between interior photography, architectural photography and real estate photography?
EL: To me the difference between these types of photography is interior photography often focuses more on the energy of a space and the things in it, while architectural photography focuses on the structure itself with less emphasis on mood or the items inside, and real estate photography is trying to show as much as possible, as wide as possible, with no emphasis on anything other than trying to allow prospective buyers to understand a space and its layout.
The photographer–designer relationship
DNN: How collaborative should the relationship between designer and photographer be? What does a successful shoot partnership look like?
EL: I believe a relationship between a designer and photographer should be incredibly collaborative. Designers have spent years working on these spaces, and a one or two day photoshoot is a culmination of all that hard work.
I want to deeply understand their connection to the space so I can accurately capture that hard work, while also bringing my own eye and artistry to the mix. Establishing all the details prior to going into the shoot is important, but also having a collaborative and supportive feel while on set is a must!
DNN: What are a few things you wish more designers understood about the photography process?
EL: …It would help if designers understood that each photographer works differently. I’ve been told that I frame shots up incredibly fast, and I also know how I prefer to light with strobes and which modifiers to use, etc. so the shoot can go more quickly with me than say, another photographer who works more slowly.
[Also], interior photography is an incredibly physical job. I carry hundreds of pounds of equipment, I’m running around outside to place strobes, coming back in to scrim windows, and on top of this, I am using the artistic part of my brain to frame and light, all the while chatting with the client. At some point, all of these senses fatigue. We are not machines, and pushing us for more shots and longer days can just compromise the integrity of our work.
Craft and criteria
DNN: What qualities or techniques separate a good interiors photographer from a great one?
EL:…Maintaining quality throughout your work, building a name for yourself over time, being easy to work with, and establishing lasting relationships with clients is very important in separating… the good to the great.
DNN: When hiring a photographer, what should designers be looking for (perhaps beyond the portfolio)?
EL: When hiring a photographer, designers should make sure that energetically it feels like a good fit, and that the photographer’s portfolio aligns with the type of style their project is. I have had clients hire me thinking I can make their project look “dark and moody” when it’s a white box with white furniture. I have learned to be incredibly forward with expectations so there are no surprises.
DNN: What goes into setting your rates? And what do you say to a designer who is making their decision about which photographer to hire based on price?
EL: This goes back to the question about social media and changing the landscape of value in photography. Again, quantity is valued more than quality. My rates feel fair to me–the amount of years I’ve been at it (19), the investment I’ve made in top-notch gear (well over $150k), monthly business expenses, and the energy I put into my work have all been factored in.
It would not be fair of me to reduce my rates to compete with someone else in a different position, who may be able to comfortably charge a thousand or more less. A designer needs to know that photography–good photography–is an investment. Paying less doesn’t result in something better. It’s like with anything, quality costs. I love to work with clients who fully respect my rates, just as they probably prefer with their own clients.
Shifting photography standards and new aesthetic influences
DNN: How has the rise of AI and advanced editing tools affected your workflow or the authenticity of interiors imagery and the industry as whole?
EL: [As] with any other visual media, sometimes you can’t tell what is fake and what is real. The models we see in magazines look entirely different than in actual life. Now we have the availability to do the same in interior photography. But for me, my work relies on authenticity with an emotive quality. You can’t achieve that through AI.
But I do use the AI tool in Photoshop to retouch things that would otherwise take me hours. It’s shaved off a lot of time with editing, so I can focus on the myriad of other business related things I need to do on a daily basis.
DNN: Are there trends in interior photography you feel are becoming overused or cliché?
EL: Personally, I am tired of seeing heavy color grading or “preset” like washes on photos. Sometimes I scroll through Instagram and I see all of these interior shots that are washed with a brownish or greenish hue and I feel it distracts from the spaces. I also find that it will date the shots. And then what’s next after that trend passes?
The other one I am seeing is leaning into color casts. Color casts drive me crazy in photos that I shoot. If walls are white, they should appear mostly white in the image. Not green reflecting the trees outside, etc. But again, people take their own artistic liberties. My clients tend to be very focused on accuracy, and I agree. After all, they are the ones who worked hard picking every color and finish, and it is my job to precisely capture that in each photo.
