The Real Estate Photographer’s Camera Bag

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Your professional real estate photographer in Santa Fe, Albuquerque, and the surrounding areas has likely made a significant investment in equipment, software, and experience. Let’s take a look at some of the gear a pro needs, in order to give you the great media you require.

Cameras

For still photography, most modern cameras with interchangeable lenses will prove capable. Nikon, Fuji, Canon, Sony, and Panasonic camera bodies made within the past 5 to 10 years can all be employed to produce professional still images.

But when it comes to video, the field narrows. In general, the more recent the camera, the better the video quality. We’ve seen improvement in both resolution (the detail that can be captured) and the dynamic range (the camera’s ability to capture details in both very bright and very dark areas in a single shot.) Although still photography can rely on multiple images to capture both shadows and bright windows, video doesn’t offer that option.

Recent advances in AI have also made cameras more effective in both still photos and video. And we’re only just beginning to see what’s possible there.

I’m currently using the Sony A7IV camera system, which excels at both still photos and video (I have two cameras, for my multi-camera film projects.) But when the next version arrives, it will certainly be on my wish list.

Lenses

Lenses are actually more important than camera bodies, and real estate photographers need good ones. Here’s why.

The human eye perceives a field of view equal to a camera lens of between 35mm and 50mm, and those are common lens types for most photography. But to capture property spaces, real estate requires lenses with a much wider field of view. Small bathrooms need especially wide lenses – as wide as 14mm – to show most of the space. While it’s tempting to shoot all spaces at such a wide angle, things tend to look distorted and unnatural. A good compromise is 18mm, which shows a good portion of the room without looking “off.”

Properties, especially high end homes and short term rentals, require detail shots for things like fireplaces, kitchen counters, and other features. For those shots we typically use longer focal lengths like 50mm.

So to cover a property, a pro real estate photography needs to carry either zoom lenses with a wide range, or several prime lenses (lenses that only have one focal length). Personally, I carry a 14mm-24mm zoom lens, a 24-70mm zoom lens, and an 18mm prime lens which I use exclusively for video.

Lens quality matters a lot too. The best lenses offer excellent color fidelity, and minimal distortion. Undistorted shots are key for real estate photography.

Tripod

Still photography for real estate requires a tripod, because it involves multiple shots for each image. These shots need to all come from the exact same spot. So, the camera has to be in a static location, on a tripod.

Lighting

Video needs light, and lots of it. Not all properties are well lit. For those spaces, we need to bring in at least some lighting. Some pros carry portable panel lighting, which works well. Personally, I prefer to carry a strong light, a “lantern” soft box that spreads light evenly across a space, and a light stand. It makes a big difference in the end result.

In addition, the flambient technique for still photography requires an off-camera flash. (The flambient technique blends flash and ambient light to create natural-looking, well-lit interiors (see HDR versus Flambient). For me that means a special flash trigger for the camera, a flash light, and that same lantern soft box.

Gimbal

For real estate video, we need smooth camera motion. A handheld gimbal balances the camera, and provides smooth, steady camera movements. Using a gimbal takes practice, and a strong back, arms, and core. Pilates, anyone?

Drone

The use of drones (see Drones For Real Estate Media) for capturing aerial views of a property is now an essential part of a real estate photographer’s toolkit. Drones provide sweeping views—both as still images and video—that showcase a property’s size, layout, and surroundings in ways ground-level photography cannot. Aerial shots can highlight curb appeal, outdoor amenities, and even difficult-to-access areas like rooftops, which are valuable for both marketing and inspections.

Professional drone use requires a Federal Aviation Administration (FAA) Remote Pilot Certificate (Part 107) in the U.S. This means passing an aeronautical knowledge test, registering each drone, and following strict safety and privacy regulations. Violating these rules can result in significant fines.

While drones are now common in real estate marketing—83% of sellers prefer agents who use them, and listings with aerial images can sell up to 68% faster—they’re not always universally welcomed. Some neighbors may have privacy concerns, so it’s important to fly responsibly and communicate clearly with property owners and the community. (Good communication skills are yet one more thing your real estate photographer needs!)

3D Camera

A 3D camera is specialized for capturing a 360-degree view of a space, making it possible to create immersive virtual tours. These tours, using platforms like Matterport or Kuula, allow potential buyers to “walk through” a property online, exploring every room and detail at their own pace. This technology is increasingly expected by buyers, especially for high-end homes and short-term rentals, and is a powerful tool for out-of-town or international clients.

Software

Once back in the studio, all of that footage and still imagery needs to be processed and edited. For that we’ll use (expensive) programs like Photoshop, Lightroom, Final Cut Pro, DaVinci Resolve, and Premiere Pro. These programs don’t do the work for us, though. It takes lots of time and patience to master them. Some photographers also use AI-powered editing tools now to speed up turnaround and enhance consistency

Many real estate photographers use a team of editors, rather than doing the work themselves. Because the work is quite time consuming and tedious, it can make sense to concentrate on shooting, and let someone else handle the edits. That way, the results can be delivered in the 24-48 hour turnaround that agents have come to expect.

Personally I enjoy editing. However I do outsource my still images, and get them back quickly. Then I take time to go over each image for quality control and final enhancement. For video, I currently do all the work in my studio, using Final Cut Pro and a variety of plugins.

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