Posing
No people in most frames, so 'posing' is staging: what stays in the room, what leaves it, and where the camera stands.
In short: No people in most frames, so 'posing' is staging: what stays in the room, what leaves it, and where the camera stands.
The default for every room.
Shooting through a door adds depth and shows how rooms connect.
Kitchens and bathrooms with an axis read best square.
Emphasises space rather than the lawn's edge.
Taps, handles, tiling — angled, not flat.
One only, doing something ordinary — it gives scale without turning the listing into a catalogue.
Start with camera at chest height, corner position — the first two minutes are warm-up and the first pose should be the one that asks least of anyone. Move to doorway framing and straight-on for symmetrical rooms once the shoulders have dropped, and keep lifestyle frame with a person for the end, when self-consciousness has gone. Shoot each one in bursts through the movement rather than holding it: the usable frames sit between the instructions, not on them.
Two metres back with the lens zoomed rather than close and wide — distance is what keeps facial proportions natural. Camera at or slightly above eye level for portraits, at chest height for full length. Below eye level enlarges whatever is nearest the lens, which is rarely what you want in frame.
Wide-angle from the doorway with the camera tilted up. It exaggerates the room, bends the walls and is the reason buyers arrive disappointed.
Photographing a cluttered room and hoping editing fixes it. Tilting the camera. Mixing daylight with warm bulbs. And skipping the twilight exterior, which is the single highest-value frame in the set.