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Photographing a finished project is one of the most important investments a designer can make for their business. And of course, you want those images to be the best they can be in order to show off your talent and attract the attention of editors and potential clients. So how do you make the most of the limited time you have on a shoot? We asked six interior photographers and stylists to share the pitfalls you should avoid, whether you’re hiring professionals or doing it yourself. (Tip #1: Don’t do it yourself, if at all possible.) Read on to learn how to successfully collaborate with your photographer and stylist to end up with images you’ll be proud to show off.

Don’t shoot too early.

Stylist Mieke ten Have notes that if you’re committed to shooting a project, make sure that it is as complete as possible. “That means in terms of art, but it also means in terms of accessories and textiles and that finishing layer,” she explains. “I think a lot of projects can look finished but can often feel bare if you don’t have things like books, textiles, objects, and things that tell a story.”

Don’t assume your photographer or stylist knows what you want.

Make sure everyone is on the same page in advance by sharing scouting photos and discussing direction, advises stylist Giana Shorthouse. “Pull together inspiration imagery and be very clear on the type of photography and the type of styling that your brand leans toward,” she says.

Don’t insist on a style of photography that doesn’t match the space.

Tell your team what you want, but also trust them to know what will work best in the space. “For a while, I was known for really light and bright and sunny interior photography,” says photographer Tessa Neustadt. “Then someone will expect that, even if that style doesn’t match up with the house that I’m shooting. The photos will be a little bit moodier, and then the client says. ‘Oh, what’s going on? This isn’t why I hired you.’”

Don’t overplan.

Though prep is crucial, stylist Colin King recommends that you leave room for spontaneity. “I really recommend not overcontriving or planning too much when mapping out styling,” he says. “Some of my favorite moments have happened by accident.”

Mieke ten Have styled the colorful New York City dwelling of Grace Fuller Marroquin and Diego Marroquin.

 Photo: Noe DeWitt

Don’t overlook the power of natural light.

As you design the space, pay attention to how the light looks at different times of day and file that info away for future photo shoots, advises photographer Alanna Hale. “Capturing something in its best light is more than just a metaphor,” she says. “Slowing down and observing and watching the light is also a really big component of interior photography.”

Don’t expect your photographer to also be a stylist.

Designers should let their photographer focus on getting the shot, not styling the space, notes photographer Genevieve Garruppo. “I need you to own most of the styling,” she says. “If I think that something should move for the composition, that’s one thing, but I’m not designing the room for you.”

Don’t count on your stylist to be a personal shopper or finish the project.

Shorthouse has encountered jobs where designers want her to style the space and add the finishing touches to the project. “That can really make it difficult because then you’re shopping for a photo shoot, but also shopping for a real space,” she explains. “Sometimes it can be very different in terms of how things read on camera versus how they read in real life.”

Don’t wait until the last minute to clean.

There’s lots to do on shoot days, so make sure the space is cleaned and ready to go before the photographer arrives, advises Neustadt. That includes vacuuming, steaming curtains, cleaning windows, and if the clients are living there, making sure that personal items like remotes, baby gear, and tissue boxes are all out of sight. “Otherwise, I get there and absolutely nothing’s ready for me to shoot,” she says. “Then the whole day we’re kind of playing catch-up.”

Don’t neglect the small moments.

It’s understandable that you want an image to capture every aspect of the room, but make sure you capture some intimate vignettes as well. “A lot of designers are looking at the bigger-picture elements of the room, and they want to get it all,” says King. “But I think there’s an intimacy created in the smaller moments that a lot of times will be overlooked. Those are really important to capture on set as well.”

A beach bungalow by Green River Project received the Colin King styling treatment.

 Photo: Victoria Hely-Hutchinson

Don’t leave the lights on.

You may want to illuminate that eye-catching light fixture, but Shorthouse says to leave it off. When turned on, “it tends to read more real estate photography than it does editorial, and magazines will want to reshoot it,” she says. “Turning on the lights can also kind of distract from fixtures.”

Don’t try to make one shoot work for everything.

Let your photographer and stylist know the purpose of the images in advance—and don’t expect one set of photos to work for all your needs. “Styling for portfolio pictures is different from styling for more editorial photographs,” says Ten Have. “Portfolio pictures are great and they’re useful, but they’re often not the most compelling pictures. There’s a real distinction between cataloging a room and capturing the essence of a room.”

Photographer Alanna Hale captured this guest bedroom at Ken Fulk’s Northern California getaway.

 Photo: Alanna Hale

Don’t disregard the work before and after the shoot.

The work of a photo shoot doesn’t end with the last shot of the day, so remember to account for the team’s time (and expenses) before and afterward. “It’s a lot of calling and schlepping and logistics behind the scenes,” says King. “So make sure that their time is also considered not only on shoot days but also those prep days and return days too.”

A vignette styled by Giana Shorthouse for Jaipur Living.

 Photo: Mali Azima

Don’t forget the reason you hired your team.

Remember that photographers and stylists want the project to be published as much as you do. “The photographer wants to create a great product,” says Garruppo. “We do that when you’re prepared, and you let us have a little bit of breathing room.”

Don’t neglect your lines.

There’s no substitute for a professional photographer, but if you are going to try to shoot your own project, Neustadt and Garruppo both stress the importance of making sure your lines are straight. “If you’re shooting toward a wall, you want to make sure that all of the vertical lines in the furniture, in the art, and the windows are all parallel,” says Neustadt.

Don’t rely on the camera screen.

If you’re taking a DIY approach, hook your camera up to a computer. “The eye understands depth and can see around shapes in a really different way than a camera can,” says Hale. “You always want to shoot tethered to a computer, because it’s so hard to see on the back of a screen. Really slow down and take time to let your eye look around the frame.”