I’m as baffled as you are and goodness knows I don’t set out to look for this kind of assignment but for some reason images like these are getting me related work. I’ve just completed work on a mansion for a baroness, no less, a somewhat intriguing departure from the small clique of scale model clients (bespoke children's posters - a niche market if ever there was one) or those wanting help with their travel photos. But I suppose it’s good to have different subjects and projects on the go and I am grateful for the eclectic mix. She found me online while searching for images of these interiors and asked me to photograph her home (of which none of the images will be featured here as they are for her private use). The images below are of heritage properties open to visitation from the public. NIKON D600    Tokina AT-X 116 PRO DX 11-16mm F2.8    16mm    f/2.8    1/30s    ISO 2200 As you can tell I’m certainly no expert and I’m not going to presume to offer any instruction on photographing these kinds of places but merely a flotilla of ideas. Take it or leave it. Unlike real estate photography, which seems to want to homogenise the lighting while making everything appear clinical and sterile, these stately homes have their own characteristic and practical lighting. It is invariably unique to each room, with pockets of (usually warm) light emanating from carefully placed lamps and chandeliers. The windows typically have screens to block out harsh light, lest they have a detrimental effect on fabrics. But this also precludes harsh contrasts with dark interiors and bright daylight, allowing one to photograph at any time of day without always requiring bracketing or garish HDR. In the event of harsh window light I usually expose for that (especially if I’m a mere visitor and have limited time) and also one shot for the room and layer them in post. Or I may simply bring up the shadows slightly in the darker image, allowing the light to be the story, just touching on the space to give a sense of its contents. One could also judiciously use a flash, which I tend to avoid to maintain the natural light in the room and also because many of these properties prohibit the use of flash to protect the fabrics and artwork. E-M5    LUMIX G 14/F2.5    14mm    f/2.5    1/160s    ISO 200 Alternatively, I don’t always mind the exteriors being a little blown out in the windows, inhibiting their distraction and enabling the viewer to focus on the interior space. E-M5    OLYMPUS M.12-40mm F2.8    12mm    f/2.8    1/80s    ISO 1000 It’s not all about getting the whole room in with a wide-angle lens. Most of these places have a plethora of luxurious and ornate furnishings and ornaments that lend themselves to close-up isolation (admittedly not many presented here) and contribute a sense of period and opulence to the property. Instead of the entire room, maybe focus on a desk and chair or set of sofas, capturing the intimacy of the space. E-M5    LUMIX G 14/F2.5    14mm    f/2.5    1/50s    ISO 3200 E-M1MarkII    OLYMPUS M.12-40mm F2.8    40mm    f/2.8    1/60s    ISO 3200 E-M5    OLYMPUS M.12-40mm F2.8    31mm    f/2.8    1/50s    ISO 1600 NIKON D600    Tokina AT-X 116 PRO DX 11-16mm F2.8    16mm    f/2.8    1/15s    ISO 2800 In terms of framing, I tend to look for a cosy and slightly confined space to allow the viewer to imagine themselves sitting or standing (or lying) there. E-M5    OLYMPUS M.12-40mm F2.8    31mm    f/2.8    1/25s    ISO 1600 E-M5    LUMIX G 14/F2.5    14mm    f/2.5    1/80s    ISO 2500 Sometimes the whole room can be impressive but often a tighter shot with more discernible content will provide as much, if not more, of a feel of the place. E-M5    OLYMPUS M.12-40mm F2.8    15mm    f/7.1    1/25s    ISO 1600 E-M1MarkII    OLYMPUS M.12-40mm F2.8    12mm    f/3.5    1/40s    ISO 3200 Dining rooms are usually a good example of this, showing not just the scale of the room but allowing the viewer to rifle through some of the details such as the crystal and glassware. Using a wide aperture to capture focus further into the image is one way of leading the eye into it. If the frame is wider then obviously a narrower aperture is more appropriate. E-M5    OLYMPUS M.12-40mm F2.8    40mm    f/2.8    1/60s    ISO 1600 E-M5    OLYMPUS M.12-40mm F2.8    12mm    f/2.8    1/6s    ISO 200 I tend to err on the side of warmth when processing for these types of properties, adjusting the white balance accordingly. Interior spaces, especially if they are slightly claustrophobic, aren’t particularly inviting if the lighting is too blue and too cold. I may even accentuate the existing lamp light with some selective dodging or a selection brush. It's a subjective choice, to be sure, but it works for me. Wide angles lenses are good but tighter focal lengths can force better composition and help eliminate clutter from the frame. Fish-eyes, used sparingly, can also accentuate the cavernous spaces in hallways and under stairs. E-M5    ---       f/1.0    1/100s    ISO 1600 I won’t bore you with the exteriors (whose often ordinary facades belie the sumptuous interiors). It is only a matter of arriving early to have the entire property to shoot but there’s plenty of subject matter in the architectural geometry and details such as the sculpted masonry or gargoyles. Well, as much I enjoy seeing and capturing (and hopefully revealing) these buildings I don’t really set out to be an ‘interior photographer’. It is something that other people do better and ostensibly make a decent living out of so I’ll probably leave it to them. Cheers.