as it came off the phone
after correction
PhotoKova LTD · interior photo correction
Interior photographs from your phone, put right.
We correct perspective, exposure, white balance and image noise in photographs of offices, salons, studios and other premises, and bring a whole set to one look. The room in the picture stays the room you photographed.
What stays the same
Nothing is added. Nothing is taken away.
The premises in the finished photograph are the premises you photographed. That is the whole basis of this service: a corrected picture has to be usable as a true record of a room, or it is worth less than the snapshot it came from.
The layout stays the layout
Same room, same viewpoint, same distances. Doors, windows, sockets and the run of a worktop end up where they were, because none of the work touches the geometry beyond putting the verticals back upright.
The condition stays the condition
Marks, wear, damp and clutter are not tidied away in editing. If something should not be in the picture, move it before you take the photograph and take it again; that is the only honest way to get it out.
The detail stays legible
Tell us what has to be readable - a certificate on the wall, a sign, a price on a shelf, a serial plate - and the crop and the correction are built around keeping it. Nothing is cropped out silently.
What gets corrected
Four things go wrong in a room photographed on a phone
Pick one and drag the handle across. Both halves are the same drawing with the same walls in the same places - only the treatment changes, which is exactly what happens to your files.
before
after
Perspective and levelling
A phone held at chest height and tilted back throws the verticals together, so a room reads as though it were leaning away from the camera. The frame is rotated and the convergence taken out until door frames, window reveals and wall corners stand upright, and the floor line runs level.
Straightening costs picture area: what rotates out of the frame is gone, and a very steep tilt cannot be recovered without cropping into the room. This is the first thing we check and the first thing we tell you.
Exposure and contrast
Point a phone at a room with a bright window in it and the camera protects the window, leaving the floor, the far corner and anything under a worktop in shadow. Shadows are lifted and the brightest areas pulled back until the whole room can be read at once, without the flat grey look that comes of doing too much of it.
Nothing is painted in. Where a highlight has gone completely white or a shadow completely black, the file holds no detail to bring back, and we say which frames those are before quoting.
White balance and colour
Tungsten bulbs, LED panels, daylight through glass and a lit screen each pull the colour a different way, and a white wall shows every one of them. Neutral is set from something in the room that ought to be neutral, and mixed lighting is evened out so the same wall is the same colour across the frame.
The colours in the room are not replaced with better ones. A magnolia wall stays magnolia and grey flooring stays grey.
Noise and detail
In a dim room the camera raises its sensitivity and the shadows break up into coloured speckle, which is the first thing that makes a photograph look like a snapshot. The speckle is reduced while the edges that carry the room - tile joints, skirting, the weave of a fabric - are kept.
Smoothing stops well short of the point where texture turns to plastic. A grainy frame reduced too far looks worse than the grain did.
What your own set can be brought to is judged from your own files, frame by frame, before there is a figure to agree to. The Corrections page takes all six corrections in turn - these four, matching a whole set to itself, and the crop and export the finished files go out as - with what each of them takes away as well as what it gives.
Sets, not single frames
Four rooms, one visit, four different-looking photographs
A visitor reads a set as one thing. One room warm from the lamps, the next cold from bare daylight, the third too dark and grainy to read and the fourth leaning away from the camera says the pictures were taken in a hurry, not that the premises look like that. Matching is part of the work rather than an extra.
As they came off the phone
Matched to each other
Where the work stops
What we do not do, in as many words
Photographs of premises get used to let, sell, book and sign people up, so the line between correcting a photograph and changing a room matters. Here is where we put it.
- No virtual staging. Furniture, rugs, plants and artwork are not added to an empty room, and nothing is moved.
- No redecorating. Wall colours, flooring, worktops and cabinet fronts are left as photographed.
- No tidying away of faults. Damp patches, scuffs, cracked tiles, worn flooring, cables and clutter stay where they are unless you physically move them before you take the photograph.
- No new views. What is outside a window stays outside that window; skies are not replaced.
- No removing or adding people, and no altering signage, notices or prices shown in the room.
- No combining two rooms into one picture, and no making a room look larger than the lens saw it.
If a job needs staging or retouching of the room itself, it is not this service and we will say so rather than quote for it.
How the work is packaged
Three shapes of job, sized from your own files
A package here is a shape of job rather than a number of frames. How many photographs a room needs depends on how many angles it takes to show it; how much work each frame needs depends on what the camera managed to record. Both are settled in writing before anything starts.
| Package | What it covers | What sets the size |
|---|---|---|
| One room A single space, shown properly. | Every frame you took of one room: perspective, exposure, white balance and noise on each, matched to each other and written out in the sizes you need. | How many angles the room takes to show, and how much rebuilding the worst frames need. |
| Whole premises Every room in one visit. | The same work across the whole building, plus matching between rooms so that a viewer moving through the set does not see the light change from door to door. | The number of rooms, how many frames each of them needs, and how far apart the lighting conditions were. |
| A standing arrangement Premises that keep changing. | Repeat sets from the same place - after a refit, a change of stock, a new season - corrected to match the sets already delivered so old and new photographs sit together. | How often sets come in and how large each one is. Agreed once and confirmed for each batch. |
Prices are quoted in pounds sterling (GBP). The figure in the quotation is the whole amount payable, taxes included, and nothing is added to it afterwards. The quotation also states the turnaround and how many rounds of revisions are included, so both are agreed before you accept it. The Packages page sets out what a set has to arrive as, and Delivery & Refunds covers cancelling and money back.
From camera roll to finished files
What happens, in the order it happens
-
01
You send the photographs
By email, or by a link to a folder in whatever storage you already use. There is no upload form on this site: files go straight to us rather than through a third service.
-
02
We look at what you sent
Every frame is opened before anything is quoted. You are told which ones correct well, which ones are limited by what the camera recorded, and which ones would be better retaken.
-
03
You get a written quotation
It sets out the frames covered, the formats and sizes delivered, the price in pounds sterling, the turnaround and the number of revision rounds included. Nothing is added to that figure afterwards.
-
04
You accept, we confirm
Accepting the quotation in writing and receiving our order confirmation is the point at which there is a contract. The confirmation repeats the terms and asks for your consent to start straight away.
-
05
You pay against the confirmation
By card or bank transfer through the payment provider named in the confirmation. This site takes no payments and never sees a card number.
-
06
The finished files arrive
By email or by a download link, in the agreed formats. Your originals come back untouched, and we keep working copies only for the period the confirmation states.
How it works goes through the same six stages with what each one needs from you.
Start here
Send the photographs you already have
Whatever is on the phone now is enough to be looked at. You will be told which frames correct well and which would be better taken again, before there is a figure to agree to.
Or write straight to work@photokova.com