When you’re shooting a space, have you ever felt the image feels bland or one dimensional? Even if there’s ample window light coming into the room, you just can’t seem to get the punch you want to communicate in the photo. And no matter how much you edit that image, you’re unable to put enough contrast into the finishing touches to get the dimension you want.
You may be dealing with flat light.
First off, you’re in good company. No matter where you’re at in your interior photography journey, we all experience this type of lighting. It’s handed to us all the time.
Secondly, there’s a way around it! And I want to show you how.
Below I share three methods for saying goodbye to flat light for good. Let’s first understand why it occurs.
What is flat light?
Flat light is light that contains little to no shadows and therefore feels one dimensional. Shadows and dimension are important to an image because they show detail and shape of a room as well as the main subject being photographed.
Even if you enjoy shooting a light and bright aesthetic, your photos need some shadows to ensure they contain the dimension necessary to truly show off a space and its parts.
In the example below, you can feel the one-dimensional quality to the image. There are very little—if any—shadows falling onto the main subject (this cute kitchen in my daughter’s playroom!). The light feels a bit harsh. Even the white fluted trim appears soft in texture despite the fact that it’s a very textured finish and should have lots of visual contrast.
Why does flat light occur?
Flat light occurs when the main light source is directly behind the camera.
Below you can see my setup that created the flat light in the image above. The main light source falling into the spaces is directly behind the camera making the camera lose all evidence of shadows.
Notice how much window light is entering the spaces? A whole lot! And yet we have a flat image. Why? Because the direction of that light is in the wrong spot.
PRO TIP: Wanna take your imagery to the next level? Assess not only how much light is available in a space but also in what direction that light is falling. Ask yourself, “Is that direction helping or hurting the image?”
How can we eliminate flat light?
Luckily, there are a few methods we can use to get rid of the flat, one dimensional vibe and add a punch of contrast to get our 3D look back:
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Change the location of the camera.
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Block the problematic light source.
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Supplement with artificial light.
Let’s look at each of these methods in detail.
METHOD 1: Change position of camera.
By literally picking up your camera and moving it more angled from the light source, you’ll start to see those shadows recovered:
This method is the path of least resistance. But of course, you and your client need to be at peace with this new composition!
Moving the location of your camera changes the image entirely. So if your client is set on keeping the camera in its original spot—or if you’re simply unable to move the camera due to whatever constraints in the room—you need to try another method.
In the example above, I love the contrast between light and shadows. There’s a lot of dimension, and the textures in almost all of the finishes are very pronounced.
However, I’m not a huge fan of this angle. I find the original composition is much stronger. So let’s move to the next method and see how we can re-shape the light and maintain that one-point perspective.
METHOD 2: Block the problematic light source.
Get rid of the light source causing the flat light and instead use the ambient light coming from another area of the home. You can block the light with fabric (like I did below), or you can use the window treatments available in the space.
I’m now using the light from the adjacent rooms (shown below) and holding a longer exposure to let enough light in the frame:
Here’s how this method changed the direction of the light:
This version is better than the original light source! I see more contrast between light and shadows. Look closely at the faucet and the cabinet doors. See the slight shadows
And all we did was change the light source! Such a simple step for making a large impact. And in some spaces, you would see an even bigger improvement. I would use this version over the original light source ANY day.
But still, I want more contrast and shadows to 1) show off this sweet little vignette and 2) maintain consistency with my portfolio since most of my work has that depth and contrast I like.
PRO TIP: Watch for color casts as you change your light source, In this scenario, the right side of the blue wallpaper is now slightly pink. This can be fixed in editing, but it can also be fixed by Method 3 below. Keep reading.
So let’s see what we can create with method three.
METHOD 3: Supplement with artificial light.
By far the most advanced method of the three, artificial light allows you to truly take the lighting situation in your own hands. You can put the light where you want and decide how much of it you want.
In this scenario, I put my light to the right of the subject right off the frame:
Here, it’s as if we’ve moved the sun to a new location in the house:
It’s the punchier, next-level version of the method above. See the shadows falling from the knobs, the green topiaries, and the fluted molding?
This contrast makes me one happy photographer!
And to really give you an idea of how far artificial light can take you, look at that back hallway. Here’s a version of the image above blended and fully retouched with a frame of the hallway lit by my strobe. I would happily deliver this image to a client:
PRO TIP: Using artificial light can also help eliminate odd and incorrect color casts. Compare this example with the others above by looking at just the coloring on the walls.
Final Thoughts
By intentionally changing the direction of light, we can add shape and dimension that showcases the spaces we photograph. Try these three methods the next time you’re at a session and the lighting feels flat. Start with method 1 and 2 if you are unfamiliar with artificial light. These are the the easiest solutions to lighting problems anyone can achieve. Advance to method 3–or go directly to it–if you’re ready for this next-level move.
Interested in the gear I used? See the links below:
Light blocking fabric (I used an 8x8 for this Field Note example; it has built-in velcro border that attaches the the velcro poles linked below)
Velco poles that hang the fabric (I own two sets of this size, which gives me enough velcro poles to create the length I want. I do not build the whole frame, just the top and let the fabric hang.)
Retractable pole (If you already own light blocking fabric but it does not have velcro, this is a great option; attach using spring a-clamps)
Superclamp (securely attaches the poles to the light stand)
About the author:
Sarah is a residential interior photography based Dallas, Texas. She works with designers and builders to create publish-ready imagery that grows their brand and an ideal client base.
Website: www.sarahlindenphotography.com
IG: www.instagram.com/sarahlindenphotography