Hello everyone, real estate photography is about capturing buildings and their interiors for realtors.
It is a simple passion and a great business; a good picture can change the face of anything.
But to achieve that, you need a great quality lens.
There are several options on the market, which makes it difficult to choose the best one.
In this article, we compiled a list of the top 8 best focal length for real estate photography on the market today.
Here are my recommended top 8 Best Focal Length for Real Estate Photography.
|Image||Product||Best lens for||View on Amazon|
|Canon EF 16–35mm f/2.8||(Best wide-angle focal length for real estate photography)||View on Amazon|
|Canon EF-S 24mm f/2.8||(Best full-frame focal length for real estate photography)||View on Amazon|
|Samyang 12mm F2.0||(Best cheap ultra-wide-angle focal length for real estate photography)||View on Amazon|
|Sigma 10-20mm f/3.5||(Best focal length for real estate video)||View on Amazon|
|Sony 16-35mm f4||(Best Sony wide-angle focal length for real estate)||View on Amazon|
|Canon EF 16-35mm f/4||(Best affordable focal length for real estate photography)||View on Amazon|
|Tamron 15-30mm F2.8||(Best focal length for Interior real estate photography)||View on Amazon|
|Tamron 17-35mm f/2.8-4||(Best Compact size focal length for real estate photography)||View on Amazon|
I just finished a real estate shoot yesterday.
And primarily use this lens, which is the Canon 16 to 35-millimeter f 2.8 version three wide-angle lens, and I love this lens.
So I figured now is the perfect time to review this lens; using it purchased about a month, actually more than a month, and I have used it in many different environments.
So I figured I’d gathered enough experience to talk about this lens a little bit.
It just feels like quality glass. There’s it’s not flimsy at all.
Yes, it’s heavy, but you feel like you’re holding $2,000 in your hand.
So you feel like you’re getting the quality glass to the contrast and the colors are spectacular.
I noticed a vast difference between the photos taken with this lens and my beginner lenses.
And when I put them on my computer, even before editing, I can see that they’re just so beautiful.
So I have to do a lot less editing, just because it looks so great, right from the start.
The sharpness blows my mind; every photo I take with this line is super sharp.
I’ve noticed that when I take photos a lot of times, I’ll get you to know darker vignette around the image, and I don’t always want it that it’s something that I can edit, But still, you know, that’s just something you got to live with.
But the vignetting will make occurs when you have it around 16 millimeters.
If you’ve got the 35 millimeters, you’re not going to get that vignette, and three, there is distortion at the edges.
So what does this lens suitable for? Well, for one, it is perfect for real estate photography.
When you’re doing real estate photography, you need something super wide.
So when you’ve got the 16 to 35 millimeter, you can get those epic shots to make even the tiniest room look huge.
It’s also suitable for taking group photos. If you’re in a room with like 50 people, you’re trying to get them all in a picture.
Depending on how big the room is and how far you can get back to a 16 to 35 millimeter, it might also not, most likely will get every person in the shot.
Just make sure not to put them in the edges because there will be some distortion, and they might get a little stretched out.
It’s also great for landscapes and Astrophotography, or pretty much anything where you want to show the entire region that you’re into the beauty of the landscape.
And, of course, it is fantastic for vlogging; if you watch many YouTube videos, you’ll probably see many photography vloggers using this lens because it’s so wide.
So it’s great for that. If you’re a Vlogger, you can consider a lens like this.
If you’re in the professional photography game, this is the best focal length for real estate photography.
Now, if you have a full-frame camera like me, you might be looking for a full-frame lens that can accommodate a wide-angle focal length, but you might not want to spend 24 millimeters on 1.4 prices.
This lens is an absolute beast.
I needed a wide-angle lens that will give me low light capability, and the fact that it has is a plus.
So then I purchased this.
The construction of this lens is well built. The focus ring is nice and smooth, and it has a focal meter.
Also, it has a manual focus switch on the side, and then it has its image stabilization.
Now, like some image stabilization lenses, you might see a little jumping when you focus, especially in the 70 to 200.
But there’s no jumping in this, and it’s pretty quiet.
When I move around, I don’t hear any stabilization mechanisms going off in the woods.
Now, this lens does have image stabilization which is also a plus.
That means that you’re going to get sharp pictures when you’re shooting in low light situations, even if you’re under 24 millimeters, even if you’re under 120 fourth of a second.
When it comes to shooting and your shutter speed is going to eliminate that handheld camera shake.
If you know you’ve had it ever shoot that slow for video, it’s going to give you smooth footage.
You can pretty much see every little jolting step, but when it came to turning the stabilization on.
It was smooth, and you can use this line for video.
The focusing is super-fast when you choose. So I have nothing wrong to say about this lens.
If you are looking for a 24-millimeter lens to go on your full-frame camera and you can’t afford it, or you don’t want to spend the 24 millimeter L series price to 1.4. Then, take a look at this lens.
If you want to use this on your crop sensor camera, you can as well.
If you’re looking for a 35-millimeter focal length, this is an excellent option to go for.
So this lens has an aperture of F 2.0, which is a pretty wide aperture.
This means that the aperture opens up wide to allow a lot of light into the sensor, which means you could take those handheld indoor shots.
This lens is made specifically for mirrorless bodies, which makes the small form factor possible, and because of that small size, this lens only weighs 260 grams.
This lens is pretty buttery smooth, which makes it suitable for pulling focus for video.
This lens is half plastic and half solid metal, but the plastic is pretty good.
It’s like solid plastic also; it’s a thick type of plastic.
It doesn’t feel flimsy at all; of course, this half madly has inbuilt plastic quality does not come as a surprise because this lens comes in at a budget price of $300.
We’ll see the optics of this lens are top-notch and rivals that of its Zeiss counterpart.
It has an NCS nano-coating system, which I assume reduces ghosting flaring and other chromatic aberrations.
It has two or spherical elements and two dispersion elements.
That sounds like Magic the Gathering terminology. Anyways, it has six aperture blades creating pleasing bokeh.
Its focal length of 12 millimeters this equivalent to an 18-millimeter lens mounted on a full-frame sensor, which means, if my calculations are correct, it gives this lens about a 99-degree field of view.
The images taken with this lens look super great.
The lens is sharp throughout all apertures; although there’s a little bit of softness around the corners, you can avoid that with ultra-wide-angle lenses.
A little barrel distortion is also present with this lens, which is easily correctable with Photoshop or Lightroom.
So the bokeh from this lens is smooth, buttery pleasant to the eyes, and does not distract me. The chromatic aberrations on this lens are very controlled.
Who is this lens for?
So this ultra-wide-angle lens is for real estate photographers, architectural photographers, landscape photographers, and Astrophotographers out there.
We’re looking into getting the most bang for their buck okay because of the price point of this lens.
This lens could be easily enjoyed by prosumers, consumers, and even enthusiasts of the like because it’s very cheap so anyone could afford this with all of that said.
Overall this is a great, relatively cheap ultra-wide-angle lens to add to your camera bag.
Its great size and super optics make this a must-have for enthusiasts and professionals alike.
It has to be a nice product; ultra-wide-angle lenses are fun to use and handy.
This lens’s zoom range ends at 20 millimeters which is quite a wide-angle but zoomed all the way out to 10 millimeters, which is very wide, indeed the full-frame equivalent of 16 millimeters.
That’s wide enough for getting large rooms, as well as capturing the whole image when you’re shooting in large buildings.
It can also help take pictures and tight spaces. 10 millimeters is a lot of fun.
So this lens has a nice enough zoom age, and the sub this lens’s sleeve is reasonably fast, a constant maximum aperture of F/ 3.5.
This lens can let in quite a good amount of light, better than most ultra-wide-angle lenses, and that aperture does not start and when you zoom in.
That makes it potentially quite useful for on-the-fly video work or shooting in darker situations. F 3.5 can also give you some reasonably out of Vegas backgrounds If you’re close to your subject.
The lens does not have image stabilization.
Well, let’s look at its build quality. The build quality is outstanding indeed.
It’s pretty big and heavy and excellent to handle.
The lens has very smooth zooming that’s nice to use and runs opposite to canons lenses.
But something I don’t like is that the same ribbing as the zooming is found just below it.
The lens has a focus ring that stands quite smoothly and precisely, but it’s also quite heavy to turn.
There is full-time manual fixing so that you can turn that focus ring at any time.
The lens’s front element does not rotate as he changed focus segments.
HSM autofocus motor focuses very quickly and relatively accurately without making much noise.
Like with a lot of cinema lenses, if you’re using autofocus when shooting video.
There’s some noisy clicking as the lens makes micro-adjustments.
To be honest, you’ll have to use an external microphone that’s about a foot away from your camera to avoid those noises, or just use manual focus when you’re doing video work.
Overall, the lens is rather heavily built, working very well, and being quite a tough customer.
Let’s look at image quality.
Like I said before, this lens is designed for APS-C, Digital SLR cameras, not the more expensive full-frame cameras.
So, I’m only tested this on an APSC camera.
I’ve put the lens on my 20 megapixels Canon 70D camera at its widest angle of 10 millimeters and its widest aperture of F 3.5.
You want to be taking pictures of wide VISTAs at 10 millimeters with everything nice and sharp and in focus. When shooting at F 3.5, the good news is that this lens’s Bokeh is really quite smooth.
Overall, this more expensive sigma lens yields.
Some punchy images and the maximum aperture of F 3.5 make it rather fun to use.
However, it has issues with barrel distortion and soft corners, not to mention chromatic aberration. Those are absolute pet hates of mine.
This might actually be a very nice lens for a video with that good zoom range and constant maximum aperture when it comes to ultra-wide-angle lenses.
I’d actually say it’s quite a good option for filmmakers.
I got this lens about a month and a half ago, and I’ve been using it for various real estate shoots, in particular, and many videos for my corporate clients.
So first off, this is by far my new favorite one in my bag, such a versatile lens.
I know that’s a bit extreme, but the quality of this lens just flows that one’s out of the water.
Considering it’s a nonprime lens, the sharpness of this lens is believably sharp, and I’m saying that because of the detail you get in the shots and the bokeh.
I was amazed at how much bokeh you get with this lens considering it’s an f4. Was I a little worried about that?
But the bokeh, even at 16 millimeters when you’re vlogging or doing anything in the close range like that, you get a pretty decent amount of both.
It’s a 16 to 35; obviously, the 16 millimeter on a full-frame camera is really wide.
I don’t really see many situations where I need a 12 millimeter or a 10 millimeter, like with a 16.
It’s so good for real estate virtual tours for doing any type of landscape work or even those wedding shots where you’re just trying to capture the entire moment.
I found this one to be really good at 16 millimeters.
Now it goes to 35, like a semi portrait focal length, and the bokeh you get 35 is actually outstanding.
What I’ve been doing with this lens, if I ever need a little more focal length, I go into crop mode on the A7III, and I have the function menu setup, go to crop mode, it actually will crop in 52 millimeters, that will go from 35 to 52.
So suddenly, you have the focal range of 16, all the way to 52, and that is just like, wow.
It’s like a wide-angle and a portrait lens, all in one.
If you’re using the Sony low light, these cameras like the A7III or others, those cameras just perform really well in low light, so you won’t really need to worry about that 1.2 difference.
It is a little bit heavy.
So it is a little bit more difficult to, you know, use on the crane all day long type thing, but the heavy build quality is also noted as better build quality and a better image.
If you’re thinking about buying this lens, I would highly consider it for the price point.
That is a mouthful lens, and this is one of my favorite lenses that I’ve used for many different things. And it’s honestly one of my best focal lengths for real estate photography.
This is a very versatile focal length.
You can use this lens for many different things; you can use it for weddings, use it for landscapes, and use it for real estate.
This lens is stabilized, and I love a stabilized lens that comes in handy, especially if you need to shoot at slower shutter speeds to achieve the right exposure.
But it’s also really great if you’re shooting a video.
This lens is great for adding an extra layer of stabilization if you’re doing gimbal work or doing handheld.
This takes out a lot of micro jitters of your footage.
This lens focuses very fast, and I haven’t had any issues with being too slow for anything.
One thing I really like about this lens is how small and compact.
This can fit in my camera bag and not take up a lot of space, and it’s not too heavy, either.
This is on the cheaper end of the L series of canon glass, but I don’t think they’ve compromised the build quality at all; this lens is still built fantastically.
Let’s dive into the sharpness of this lens, and let me say this lens is sharp; if your subjects are focused, your image will be sharp.
Now let’s talk about the price of this lens; I think that’s a great price considering the quality that you get out of this lens.
This is a great lens, and it is sharp is built.
Well, it focuses fast, it has image stabilization; there’s a lot of great things going for this lens, too, if you don’t need 2.8 for your field of photography.
I want to address is vignetting. And yes, there is some vignetting in this lens.
If you’re shooting at 16 millimeters or some wide apertures such as f4, it’s nothing crazy.
So I think that will ruin your image, but you will have to fix some of this in Photoshop or Lightroom later.
There’s also some mild distortion; when you’re shooting at 16 millimeters, that’s going to go with any really wide-angle lens, you’re always going to get some level of distortion.
But I feel like, in the 2.8 version of this lens, there’s a little bit less
Overall, this is an amazing quality lens, and it’s affordable. It’s a great intro to L series glass, and it gets the job done; this lens performs what it needs to.
So let’s just start you off with some brief technical specs. This is an f. 2.8 lens, and suggests, it zooms from 15 30.
15 is incredibly wide on a full-frame camera.
It has a nice round-bladed aperture in there.
This will stop down to f 22 also has a minimum focus distance of 28 centimeters which is pretty close.
The lens hood is built-in, you can’t remove this, and as you zoom in, the lens zooms out.
There was a huge front element on this thing; you’re not going to get any conventional filters.
Most importantly, what differentiates this lens from many of the other ones on the market at this focal length with this aperture is that this lens has VC vibration compensation.
I’ve been able to get this around the 3 stops.
Tamron playing for some people who may have seen your hands that might think the lens’s weight and construction makes it a lot easier to get slow shutter speeds as well balanced.
But he’s a weighty thing; we weigh in at about 1.1 kilos. That is quite heavy.
So, my thoughts on this lens are that I’m impressed with the sharpness, including the edges of even wide open.
This is a sharp lens, particularly in the center; it does slightly towards the edges.
This is a hell of a lot wider than you’d expect, which is why it makes it perfect for interiors. You can get that whole room in.
As soon as I got into the kitchen, this lens was great sometimes; 15 was actually kind of too wide, so I had to crop it a bit.
This is going to be fantastic for those shots. And as I said, in interiors, even in tight spots.
So, summarize summarizing thoughts on this is fantastic. It’s great you can still manipulate depth of field with a lens.
Many people shoot real estate, a landscape that sort of things they’re going to have 20-40, 70-72.
I love the look and the feel of the lens.
As I’ve mentioned numerous times, the build quality is excellent.
It is heavy, but it’s well balanced, and it’s gonna be great for real estate.
That’s kind of the price you pay for this kind of package, and I think this lens is great value for money. That’s a great price for the actual build quality for the optics you’re getting.
Think about owning a full-frame body camera, which is the ability to shoot a lot wider than normal.
But on top of that, one of the worst things about owning a full-frame camera is how expensive it is to get a wide-angle frame lens.
Luckily, Tamron has released a brand new 17 to 35 F 2.8-f4, an entry-level wide-angle lens for full-frame bodies.
So, when you pick it up, you instantly notice that it is super lightweight, weighing only 460grams, and it is really compact, meaning you can fit into a lot of bags and really won’t be a nuisance when you’re traveling around a different way.
Secondly, it’s well rubberized with a weak focus ring and the zoom ring, and on the left-hand side, we’ve got autofocus to manual focus switch.
It is made out of plastic, it does to strongly reinforced solid, and it’s weather-sealed.
As soon as I pick up this lens, I noticed that the lens focuses externally when I instantly pushed the autofocus button.
It’s going to a max aperture range of F2.8 to 4, which means that at its widest, you get a bit more control over the depth of field that gets tightest in terms of the actual aperture blade diaphragm.
It’s a center of the rounded blade change; you’re going to get some nice creamy both and out of it.
And if you’re going to be shooting this in really harsh sunny conditions or really want to stop it down, we have a minimum aperture of F22 to work with.
The lens is coated with B barcoding to help control against chromatic aberrations reflections ghosting and flaring, and it’s doubled up with fluoride coating to help protect against the elements.
So it does have the focusing performance. I really like Out of the world, and this is throughout the whole program from 17 to 35; there’s not a debit performance at all.
Stopping down to f 4 and 5.6 really accentuates the sharpness further from opening up to F 2.8; the corners are only a bit tad softer compared to the center.
It does have a bit of distortion, but that can be fixed with a picture profile.
It says chromatic aberrations, ghosting color fringing the 17-35 mil really does well handle it.
Overall, the Tamron 17 for 35 miles excels above its price point, and optically it’s pretty damn good.
What I really like about the Tamron 17-35 is its size because, honestly, compared to any other full-frame wide-angle lens, they’re normally a lot bigger.
So my final thoughts on this are a fantastic choice for anyone looking to get into wide-angle photography.
It’s a huge bang for your thoughts, especially for its performance and really optical quality.
Which is the best focal length for real estate photography?
I find the best the most effective is around 20 to 24 millimeters.
That’s usually what I see my zoom lens set around when I’m taking a photograph, and I have a 16 to 35 F4 lens that I’m mainly using.
What I aim to shoot for focal length-wise for living rooms or bedrooms and things like that.
So, I prefer to shoot at 20 millimeters. I think it looks perfect, and there’s minimal distortion.
And it just works for what I think is a good photo that I’m trying to make and create for my clients.
If I’m in a situation where I have a tiny bathroom or the sink is close to having a wall in a bathroom or something like that, 20 millimeters isn’t going to cut it.
There’s a saying that I learned from Scott hardy is the real estate photographer and architectural photographer in California, “Get away with the longest focal length you can.”
If it’s for a home builder, interior designer, something like that, I will try to go to 24.
So that would be my advice to try to get in that 20 to the 24-millimeter range.
What is the focal length in real estate photography:
What focal length will I need in such a tiny bathroom that will enable me to capture and show the space in a good way?
I like that it makes the room feel a little bit bigger than it actually looks.
The closest I think to my field of view, standing in the same spot that the camera is, this feels very matched to my field of view, and that’s why most photographers will use 24 millimeters, especially when it comes to interior work.
24 really is just a fantastic millimeter when you just want to show an entire space and anything wider than that.
So you guys, I hope this was informative, educational, and making buying decisions when you’re getting into real estate.
It’s effortless for someone to say, yes, the 16 to 35, in my opinion, is the best lens to use for real estate photography.
The 16 to 35 really does have a good range on it, especially for smaller spaces. When I approach a property like 9000 square feet, I start with the 16 to 35.
So the 16 to 35 is just a fantastic lens for real estate that can accomplish that task.
Is 24mm wide enough for real estate?
Whether or not 24mm wide is enough for real estate photography has been asked many times. Is it too narrow? Is it too wide? Is it the perfect width to capture everything a buyer would want to see before making an offer on their dream home? The answer is that, when you use a polarizing filter correctly, then yes- 24mm wide is plenty for any realty photo shoot.
Is 24mm good for real estate photography?
24mm is a pretty good focal length for real estate photography. It allows you to get some really nice depth of field shots and can shoot from a distance if needed.
Alright, guys, so that concludes all the lenses we will talk about today in this article.
Do you guys have any experience with these lenses? What are your thoughts on them?
Which is the best focal length for real estate photography for you?
Is there a lens that I didn’t mention in this article that you love to use for real estate photography?
Please leave your thoughts and comments below.