Storytelling, Collaborating & Capturing Light: An Interview with Photographer Kara Mercer

We’ve had the joy of collaborating with Seattle-based photographer Kara Mercer on a few of our recent projects this year. When she agreed to sit down with us and share more about her creative journey, we couldn’t have been more excited. Kara has built an extraordinary career capturing beauty in all its forms—including travel, portraiture, fashion, interiors, hospitality, and more. Her work feels cinematic yet intimately grounded in light, space, and emotion. In our conversation, Kara shares what she loves about photography, what draws her to capturing interiors, and why light plays such an essential role in her work.

Kara Mercer

TSD: Kara, I have to start by saying—I’m in love with your work! You’ve had such a dynamic career, from travel photography and fashion campaigns to interiors, architecture, and hospitality. What first drew you to photography, and can you tell us about your career path?

KM: Thank you! I adore you guys, and I’m so honored to be part of this interview and your community.

I’ve been a photographer for eighteen years now but interestingly, my degree was in speech pathology. I graduated from Texas Tech, where I also cheered for the university. Before graduation, a friend photographed me in my uniform, and she used light in a way I’d never seen before. It was such a powerful moment—it completely shifted how I saw images. After that, I bought my own camera, began shadowing her on shoots, and eventually started booking weddings of my own.

After college, I took a job in medical sales and thought photography would just be a creative outlet before grad school—but I couldn’t stop thinking about it. Before long, I was juggling forty weddings a year alongside my full-time job. Eventually, I chose to pursue photography full-time and was amazed by how much my experience in the medical field prepared me for it—the ability to stay calm under pressure, pay attention to details, and speak up when it mattered. Whether it’s a wedding day or a major commercial shoot, that mindset of “you can’t fail—you have to make it work” still drives me today.

TSD: What ultimately pulled you toward interiors and architectural photography? Was there a moment or project that confirmed, “Yes, this is my direction”?

KM: Growing up, I wasn’t really exposed to design—it wasn’t something that initially inspired me. But as I began traveling for work, photographing hotels, restaurants, and cultural destinations around the world, I fell in love with spaces and the creative thought behind them.

Through those shoots, I realized how deeply interior designers and architects care about detail. They’re intentional in everything they create, and I love learning the why—why they chose a certain texture, or what emotion they want a client to feel. There’s so much purpose behind it, and that makes each image feel alive.

Kara Mercer Photography

TSD: You weren’t formally trained in visual communication, but your work shows such a refined eye. How do you see and frame interiors through your lens today?

KM: For me, it’s all about the light—how it moves through a house, frames a space, and shifts the mood throughout the day. My goal is always to create light that feels purposeful and emotionally resonant—light that supports the designer’s vision without calling attention to itself. Over the years, I’ve learned to follow it in my shoots. Sometimes that means skipping a room and returning later when the light feels right. I’d rather capture one floor beautifully than rush through the whole house—I’ve found it’s often about patience and trusting your instincts.

For example, last year, while photographing a collection of homes for Bobby Berk, one of the properties had a bright orange fence outside that cast this incredible glow inside. We had to plan the entire shoot around that reflection—timing everything for when the sun hit just right, then moving fast when it didn’t. It was wild, but that’s part of the magic.

Kara Mercer: Architecture & Interiors

TSD: That’s interesting how the light is so instrumental and informs your approach during every photoshoot. Can you share how you adapt when you’re working in spaces where natural light is limited or absent?

KM: I always approach lighting in the most natural way possible. I pay close attention to color casting—how light bounces off walls and surfaces—and I’ll move through a space to watch how tones shift throughout the day. I’m such a stickler for color; it should feel harmonious and never distract from the design.

When natural light is limited, I use strobes very intentionally. They can completely change the feel of a room if you’re not careful. Instead of directing them straight on, I’ll bounce the light to create softness and avoid harsh shadows. Adjusting power levels and using modifiers helps mimic natural light and bring out a space’s best qualities.

Consistency is also key. I’m always thinking about how a full home or series of images will feel together. If we want it to read as bright and sunlit, I’ll blend and balance shots so every room feels cohesive. Creating natural-looking light—even when it’s not natural—is an art in itself. Every project tells its own story, and my job is to translate that story through light—making it feel intentional and effortless all at once.

TSD: When you’re introduced to a new project, how do you prepare for your shoot? Do you plan ahead of time for specific shots?

KM: I love to be surprised by a space, so I don’t always want to see the design before a shoot. Walking in and seeing it for the first time keeps my perspective fresh and my excitement real—I like to let the space guide me. Of course, some projects require scouting and planning, but I think shot lists can sometimes box people in. Some of my favorite moments have come from simply being present and responding to what’s happening in real time. You can plan, but you also have to be open to what the space wants to show you.

TSD: It is such a privilege to work with you on shoot days. I so admire the thoughtfulness you bring to each frame—how you find the angles and details that let a space tell its story. How do you decide what to highlight in a room—whether it’s a particular architectural feature, a piece of furniture, or the overall atmosphere?

KM: It’s a mix of everything, honestly. When I arrive, I like to take a moment to see where the light is falling and decide where we should begin. If there’s a specific feature—like a beautiful door, an architectural curve, or a striking built-in—I’ll use that as an anchor and start building a visual story around it. From there, I collaborate closely with the stylist and designer to bring that story to life in a way that reflects their vision.

I’m also drawn to the small details—the little vignettes that show how people actually live in a home. Evidence of life makes an image feel human and emotional. Perfect design is beautiful, but when it’s layered with warmth and intention, that’s when it truly shines.

Kara Mercer shooting with Tammara Stroud Design

TSD: Collaboration seems to be at the heart of what you do. How do you approach working alongside interior designers, architects, and stylists to bring a shared vision to life?

KM: I love being part of the final layer of a project—coming in when the design story is ready to be told through imagery. I knew when I first met Teressa Johnson (who’s now my longtime styling partner) that she and I would be able to bring out those stories together. We met back in 2019 while working on winery projects—I was photographing interiors, and she was creating florals. When my first major interiors and architecture job came up, I needed a stylist and immediately thought of her. From there, it became this beautiful collaboration built on trust and a shared vision.

I also think mood is important. I want our shoots to feel joyful and collaborative—we play music, we laugh, we move with the light—it should never feel stressful. When everyone’s energy is aligned, the images reflect that.

Tammara Stroud Design’s Parkmont 1920 | Photography: Kara Mercer | Styling: Teressa Johnson

TSD: Outside of photography, what inspires you most—whether that’s nature, design, or other art forms?

KM: Definitely my kids. They inspire me every day. I’ll come home from a shoot, and my daughter Marlowe will ask me about the design or what colors I used that day. It’s so fun to watch how curious and open they are to the world around them.

Travel is another big one. Seeing how people live in different countries—their materials, architecture, and traditions—has shaped how I see design. I’m always drawn to old-world craftsmanship and the stories behind antiques or historic spaces.

And fashion, always! I love texture, structure, and the way fabrics move—I’m a sucker for knitwear and pillbox hats! I think there’s a strong connection between how shapes play out in a garment and how they exist in a room. Both are about form, rhythm, and how something makes you feel.

TSD: How do you see the world of interior and architectural photography evolving in the next few years?

KM: I think we’re moving toward design that feels more rooted in wellness and experience. People are craving meaningful, tactile spaces that invite connection and pull us away from the digital world. I think we’ll see more interiors designed around intention—rooms that encourage reading, gathering, or reflection. You’re seeing this already in hospitality—coffee shops inside retail spaces, concept hotels that feel like homes, and restaurants designed for community. There’s a shift toward cultural richness and slowing down, toward creating spaces that shape how we feel.

TSD: Are there any upcoming projects or dream collaborations you’re especially excited about right now?

KM: Yes! 2026 is already shaping up to be such an exciting year. I have a few large-scale projects coming up, including a 14,000-square-foot home, plus several shoots in Jackson Hole and New York.

But honestly, what excites me most is the people. I feel really lucky to work with designers, architects, and teams that I admire so deeply. My goal is always to serve them well and to grow alongside them. There’s so much to be excited about, and I just feel grateful to be part of it all.

You can view more of Kara’s work at karamercer.com

To see photos from one of our latest shoots with Kara, check out our blog: Parkmont 1920