How I Approach a New Space I’ve Never Seen Before
First Impressions (Without the Camera) The walk round
The first few minutes are just observation, i’ll see the key areas that need to be shot.
During this observation time I’ll need to see:
How natural light moves through each room - different ways blinds or curtains can affect this
Which angles feel intuitive, and which are the key hero shots
What immediately draws attention - either good or bad here, we are looking to take away any beacon coloured items
This is about understanding the space before I even begin to take my camera out. Shooting too early often means settling for the obvious rather than finding what really works.
Identifying the Key Angles
Every space has a handful of angles that it needs.
Sometimes they’re clear straight away, but often they need to be found. I’m looking for:
Compositions that explain the layout, showcase the designs and light
Strong architectural lines or features - those straight on shots that are just perfection to the eye for example!
A natural sense of depth and flow, if it’s a brief to show the blend of inside and outside then I’ll make note of those areas that would work best for the camera
Not every “nice view” translates into a strong photograph, something that looks good to the eye can sometimes just not work in the same way through the lens. My job is to find the best of the best in each room and make those tell the story.
Reading the Light
Light shapes everything.
I’ll assess:
Direction and quality of natural light
How it falls across surfaces and textures
Whether artificial lighting adds to the scene or flattens it
Sometimes it’s about timing. Other times it’s about control, balancing light so the space feels as good in the image as it does in person. I try to match the tone of the room to as accurate as I can in camera, I feel the space should be as realistic to reality as possible. If you want a warmer feel, I can add that too, editing is where the magic happens for those final tweaks!
Refining the Scene (What Stays, What Goes, What’s Missing)
One of the first things I notice is what the camera will exaggerate - ie a long dining table, or a tall plant taking over the view.
This isn’t because the design isn’t working but because photography demands a bit more precision, lenses vary in their scope, the wider the shot the larger some items look near the camera, the tighter the shot the more precise styling needs to be.
I’m always considering three things:
What needs to be moved
Small shifts—furniture, objects, alignment—can completely change how balanced a frame feels.
What’s distracting from the design
Details that go unnoticed in person can stand out immediately in a photograph. Removing visual noise helps the space read more clearly.
What’s missing
Sometimes a space feels complete, but looks slightly flat on camera. Subtle additions—a book, a textile, a plant, a small detail can introduce just enough life and atmosphere.
The aim isn’t to restyle the space, but to refine it so it translates properly.
Composing with Intention
Once everything feels right, the focus shifts to precision.
I’m thinking about:
Clean verticals and strong framing
How the eye moves through the image
Balance between elements within the space
Every inclusion and exclusion is deliberate. The end result should look effortless, even though it rarely is. Picture it - one side of the kitchen island is tidy, thought through, styled to perfection but behind it is all the clutter !! It’s a bit smoke and mirrors.
Bringing It to an Editorial Standard
Throughout the process, the goal is always the same: to elevate the space into something that feels considered and publishable, after all, if I can put your project forward to be published then I will!
That means making decisions both technical and aesthetic that go beyond simple documentation. From composition to styling to light, everything is working towards a cohesive final image.
I’ll get the shots to a point where they feel refined, cohesive, and editorial, ready for feature.
Staying Flexible
No shoot is completely fixed.
Light shifts, details emerge, and sometimes the strongest images aren’t the ones you expected at the start. Staying responsive to the space is a big part of the process. You may see me dart from upstairs to downstairs chasing the good light, or deciding to shoot rooms in a different order to their placement, don’t worry, it’s all part of the perfect shoot!
Planning the shoot, begins before the shoot, on arrival and then the results speak for themselves!
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