How to Prepare a Space for an Interior Photo Shoot: A Checklist

Start with a ruthless declutter and de-personalise

The camera flattens depth and exaggerates clutter, so a room that looks tidy to the eye can read as busy on screen. Clear the visual noise first, then add back only what earns its place.

• Clear all countertops, desks, and side tables down to one or two intentional objects.
• Remove fridge magnets, sticky notes, calendars, and family photos.
• Take down personal items: toothbrushes, toiletries, medications, pet bowls, and dishes in the sink.
• Hide remote controls, phone chargers, and tablet stands.
• Tuck away laundry, shoes by the door, and anything stored on the floor.
• Empty or remove rubbish and recycling bins entirely from the frame.
• Strip branded packaging, delivery boxes, and stray paperwork.

The goal is a space that feels lived-in but not occupied. If you are unsure whether an item helps, remove it; it is far easier to add a prop back than to retouch one out.

Deep-clean glass, surfaces, and reflective finishes

Dust, fingerprints, and smudges are invisible in person and glaringly obvious under the camera, especially on glass and gloss. In Vancouver's damp climate, window condensation streaks and watermarks on stone are common culprits, so clean close to the shoot, not days before.

• Clean interior and exterior glass on windows and doors; smudges catch the light.
• Wipe down mirrors, glass tabletops, shower screens, and splashbacks.
• Polish stainless steel, chrome taps, and appliance fronts to remove fingerprints.
• Buff out water spots on quartz, marble, and granite counters.
• Vacuum carpets and rugs in one direction for a clean nap; mop hard floors.
• Fluff and straighten cushions, throws, and bed linens; iron out creases.
• Dust blinds, light fixtures, picture frames, and skirting boards.

Pay attention to anything that reflects: a single fingerprint on a black appliance or a streak on a shower door can cost real retouching time later.

Style with props, plants, and fresh greenery

Styling is what turns a clean room into an inviting one. Aim for restraint and a sense of natural life rather than a staged showroom. A few well-chosen pieces in odd numbers tend to photograph best.

• Add a vase of fresh flowers or a few stems of seasonal greenery; local BC blooms and eucalyptus work beautifully.
• Bring in healthy live plants; remove anything wilting, leggy, or browning.
• Style the kitchen with a wooden board, a bowl of fruit, or a folded linen tea towel.
• Layer a sofa with a textured throw and one or two cushions, not a wall of them.
• Set a dining table loosely, or leave it clean, depending on the story you want.
• Stack two or three design books or a tray with a candle on a coffee table.
• Keep a kit on hand: lint roller, steamer, microfibre cloths, and touch-up paint.

If you want a specific look, gather reference images beforehand and share them. Aligning on styling direction before the shoot day saves everyone time on set.

Sort out lighting before the day

Mixed lighting is one of the hardest problems to fix after the fact, so it pays to handle bulbs and fixtures in advance. When warm, cool, and daylight bulbs all fire in one frame, surfaces take on competing colour casts that are slow to correct.

• Replace any dead or flickering bulbs.
• Match the colour temperature of every bulb in a room; a consistent warm white (around 2700K to 3000K) is a safe choice for interiors.
• Test every lamp, pendant, and accent light to confirm it switches on.
• Check that dimmers work and note their range.
• Clean or replace stained or yellowed lampshades.
• Decide whether feature lighting, fireplaces, or under-cabinet strips should be lit for atmosphere.

Your photographer will balance natural and artificial light on the day, but starting from clean, matched, working fixtures gives a far better result with less editing.

Hide the things that ruin a clean frame

A handful of small, overlooked items appear in almost every interior shoot and quietly undermine an otherwise polished image. Walk the space with this list before the camera arrives.

• Cords and cables: bundle, route behind furniture, or unplug where safe.
• Bins, hampers, and cleaning supplies: relocate out of frame.
• HVAC remotes, thermostats clutter, and exposed wiring.
• Floor mats, anti-fatigue kitchen mats, and worn doormats.
• Signage, fire-exit notices, and stick-on labels where permitted to remove.
• Air fresheners, smoke detectors low on walls, and visible alarm panels where they distract.
• Cars or bins in the driveway if exterior or entry shots are planned.

Keep a box or a spare room as a staging area so removed items are easy to put back the moment the shoot wraps.

Time natural light, and confirm access and roles

Light changes through the day, and the right window depends on which way the space faces. Vancouver's frequent overcast skies actually help, giving soft, even light that suits interiors, but bright direct sun through a south or west window can blow out a room. Discuss timing with your photographer when booking.

• North-facing rooms hold soft, consistent light through much of the day.
• East-facing rooms are best in the morning; west-facing in the afternoon.
• Note when direct sun hits key rooms so harsh patches can be planned around.
• For twilight or dusk exterior shots, build in time around sunset.

Then lock down logistics. Confirm keys, fob, alarm codes, parking, and loading access in advance, and make sure someone with decision-making authority is reachable. For occupied homes or operating hotels, agree on which rooms are ready and when.

What the client handles: cleaning, decluttering, styling, fresh flowers and plants, working bulbs, and site access.

What the photographer handles: composition, lens and camera choices, balancing natural and artificial light, minor on-set tweaks, and retouching small blemishes such as a stray cable or a scuff in post. Aerial and drone coverage and Matterport tours are available on request when a project calls for them.