Thoughts on Transitioning from Real Estate to Architectural Photography
Many real estate photographers that I speak with express a desire for a change. They understandably describe the high-volume work as missing something and want to create images with a longer lifespan and a more collaborative purpose. They want to transition to architectural photography.
If you find yourself in this position, there is a path through it, but it requires a fundamental shift in your attitude, standards, and strategy. Here are my thoughts on some of the most important considerations in making this transition.
It Comes from a Genuine Interest
Before you invest in any new gear or seek new clients, ask yourself a serious question. Off the top of your head, can you name five structures that you admire, and can you articulate why? If your motivation is greater prestige, or more money, this may not be for you.
A genuine interest in architecture is the single most important prerequisite for this work. It cannot be faked or substituted. To succeed, you must speak the same language as your future clients—the architects and designers who create the world we inhabit. A deep interest in the subject will inform all of your photographic choices, and will allow you to see buildings as a mosaic of ideas about how spaces can shape people’s lives.
Redefining Your Standard of Work
The visual language of architectural photography is fundamentally different from that of real estate. The first step is to move beyond the wide, shadowless room shot. This requires a well-developed aesthetic sensibility, which can be trained by immersing yourself in high end work. Spend time studying the design press, architectural monographs, and the portfolios of elite agencies to understand what an image at this level looks and feels like.
It's also important to recognize that the standard itself is ever evolving. There is an increasing demand toward a lifestyle approach, where clients want to see how people interact with a space, not just a pristine, empty room. The ability to suggest narrative qualities about the life of the building is becoming a significant advantage. There has also been a general trend during the digital era away from heavy supplemental lighting, toward more ambient looks.
Your professional presence must align with this elevated standard. Create a dedicated portfolio for your architectural work. More importantly, scrub your website and marketing materials of the words "real estate." Clearly, I've just broken that advice here on my own blog, but I've done so for your edification.
Your public-facing portfolio should only contain the work you want to be hired for in the future, signaling to potential clients that you are an architectural photographer, not a real estate photographer who can do architecture.
Building the Right Portfolio: Two Strategies
Before paid work can begin, a common hurdle is getting access to buildings that are worth shooting. Your strategy will depend on the opportunities currently available to you.
1. If You're Starting from Scratch: Create Your Own Opportunities
If you aren't yet working on high-end properties, you must be proactive. A great way forward is through self-assignments and/or personal projects. This could mean shooting the exteriors of new commercial buildings in your city, documenting public parks, or offering to do pro bono work for a promising up-and-coming design firm. Trading images for access is a foundational step for building relationships and developing the initial portfolio you need. I still use this approach when access to something interesting is otherwise unattainable.
2. If You're Shooting High-End Properties: Leverage Your Access
If you are already getting hired for real estate projects, you can employ a different, highly effective strategy. Think of a single shoot in two parts:
First, make a set of images that fulfills your current client's needs. Give the agent the images they need for the listing—typically those wider shots I referred to earlier. Second, shoot a set of images for your future clients after your primary obligation is met. Use longer lenses, find the tighter vignettes and telling details. Focus on a single piece of furniture, a design flourish, or the way light falls across a specific material. This is where you create the thoughtful, carefully composed images that a designer will hire you to create for their portfolio.
This two-set approach leverages your time and access well. You get paid while simultaneously creating the exact assets you need to attract the work you prefer. In some cases, your relationship with the agent can lead to a direct introduction to the project's designer, giving you an opportunity to share that second, more curated set of images. Short of that, you can contact them directly, although referrals are always more effective.
Making this shift is a deliberate process, and it's essentially a career change. It requires you to cultivate your knowledge of the subject, redefine the quality you're aiming for, and use a practical strategy to build an attractive body of work. The desire to create something more lasting is a noble motivation, and with a focused approach, the transition is achievable.