Architecture and Real Estate Photography 5: Techniques for Processing Digital Files | Charlie Borland | Skillshare

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Architecture and Real Estate Photography 5: Techniques for Processing Digital Files

teacher avatar Charlie Borland, Professional photographer for over 35 years

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

21 Lessons (3h 25m)
    • 1. Introduction

    • 2. Introduction to Retouching

    • 3. Understanding Layers

    • 4. Using Photomerge

    • 5. The Lens Correction Tool

    • 6. Using Lens Correction #2

    • 7. Dealing with Distortion

    • 8. Using the Warp Tool

    • 9. Fixing Horizontals

    • 10. Processing in Adobe Camera RAW

    • 11. Processing HDR Images

    • 12. Processing HDR Images #2

    • 13. Burning and Dodge Technques

    • 14. Replacing a Blown out Building Sign

    • 15. Fixing Window Reflections

    • 16. Replacing Windows with Masks

    • 17. Retouching Lamps and Lights

    • 18. Selective Color Adjustments

    • 19. Fixing Color

    • 20. Replacing a Sky

    • 21. Removing Bounce Flash from Ceilings

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About This Class

This program is for photographers interested in Architecture and Real estate photography and consists of 8 courses covering many aspects of photographing properties.

These courses include exterior photography, interior photography, lighting color management, in-depth techniques for processing images, HDR, commercial properties, light painting techniques, and more

In this fifth course we'll cover how to deal with window reflections, correcting perspective, fixing blown out building signs, retouching lamps and lights, and replacing skies. 


Meet Your Teacher

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Charlie Borland

Professional photographer for over 35 years


Charlie Borland has been a commercial and stock photographer for over 35 years. Based in Oregon, his clients include Xerox, NW Airlines, Fujitsu, Tektronix, Nike, Blue Cross, Nationsbank, Precision Castpart's Corp., Mentor Graphics, Texas Instruments, Pacificorp, Cellular One, Sequent Computer, Early Winters, Cascade Bancorp, and AGC. He has won numerous awards for his photography and received recognition for annual reports he has photographed.

His imagery has been used thousands of times worldwide, including National Geographic Adventure and Traveler, Outside, Women's Sport and Fitness, Newsweek, TV Guide, CIO, Sports Illustrated for Women, Time, Backpacker, Sunset, American Photo, Outdoor Photographer, Eco Traveler, Southern Bell, to name a few.

Charlie has been teaching... See full profile

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1. Introduction: Hi, I'm Charlie Borland and welcome to the fifth course in my program mastering architecture and real estate photography, where we cover the techniques for processing digital images. We'll cover how to deal with window reflections, correcting perspective, fixing blown out signs, retouching, lamps and lights and also replacing skies. 2. Introduction to Retouching: Hi and welcome back. This is an introduction to this particular chapter, which is about processing files, fixing reflections, replacing skies, retouching, lamps and light fixtures, and a basic understanding of photo shop layers and how they work in this type of photography. And so I'm just going to kind of give you an idea of what to expect in this chapter as an introduction, and then we'll move into the nitty gritty details of how to do some of this stuff. So the main thing at this point, the courses that we've covered how to work with available light, had a light an interior by bringing up the brightness level of room, how to use HDR and much more. But now we're gonna take a look at photo shop not only how it can complete an image that you might have shot for photo shop, because you might remember the video on shooting for photo shop, but also how you can go in and fix a few things and work with the technique called High Delight. So now the first thing I'm going to talk about is permanent light fixtures. When you're photographing an interior and you're going to need to use existing light fixtures in the room. They have a tendency to look blown out because you're using a lot of that light, and that keeps them from looking realistic. You don't really want him to flare or bloom. You want to keep detail in. But in some cases, like this particular scene here, the lights air so far from the floor that there actually lighting that some retouching is in order for them. So when I enter a room and set up to take a photograph, I take a test shot with the available light and see what effect it's going to have on the scene. Then I take another test for just the light fixture on Lee to establish the proper exposure that maintains detail in the light. So what this means is doing unti earlier shot of the room that includes everything at whatever the camera meter suggests and then under exposing by going to faster shutter speeds until you get light fixtures that have that detail like these two pictures right here now, when you're shooting interiors of some homes, this isn't going to be a problem at all. It's usually when the light is up high, and it has a much greater distance before it's actually hitting anything in the room that those tend to blow out more than, say, the lamp sitting on a coffee table or an end table or something like that. So again, here you can see the blown out light fixtures with the left image show zing. A close up detail of the lights is as they were shot in the final image that I captured while the right image shows the lights were shot to capture just the detail. So I like the room. And then when I'm satisfied, I shoot the picture. Then I turn off all the lights and shoot many bracketed exposures and what I mean by turning off lights, turn off my strobe lights. But leave on these available lights and then go in and bracket like crazy. And then we'll move into photo shop with masks, and we'll just very subtly blend in some of the detail from the darker exposure. And that helps retain detail like you see in this picture. So I'm not gonna explain anymore because the next video is on retouching, lamps and light fixtures, and it's going to do a much better job in depth, showing you how to do that 3. Understanding Layers: Okay, What I'm gonna talk about right now, our layers layers in photo shopped. A lot of photo editing programs currently include a feature for layers and layers are probably one of the most powerful things that Photoshopped ever added when they added them way back. So this is a quick explanation of basically how layers work, and it's ah going to show you how you might be able to apply layers to a lot of the things you're working on. It's great for products. It's great for architecture. It's, Ah, perfect tool for many things that you might find yourself photographing. So here's kind of a colorful collage that I made, and I'm not an artist, but I hope that this emphasizes the point that I'm that I'm talking about. I'm gonna call this the puzzle and the puzzles made up of quite a few different colors. And like every puzzle, you can remove all the pieces of a puzzle and just start with one piece. So here have added green, then have added another puzzle piece and another puzzle piece and another puzzle piece, and so on. A keep adding puzzle pieces toe where we have one complete collage of color. Think about a puzzle that might be a scenic. You're gonna have an empty spot until you find the piece that goes where it's supposed to be assigned. Well, each of these different colors is on a layer of their own, and here I will show that to you. Each color was created independently of the other colors so I could turn all this off and I've got purple and and ah, green, I could add brown. I could turn this one off. I could go this way this way and slowly build up the colors until they're all there. So imagine how you might be able to utilize this in your photography. And let's say, for example, real estate photography or architecture. Photography is a better explanation. So if you look at this image, I'm turning off all these layers, including right down to the very basic image here, and you are able to add a whole bunch of different types of layers. So the first thing I did is I darkened the foreground using a separate image. Let's turn the mask off. Okay, I turned off the mask that's hiding that image, and there's the dark layer that I added on top of the bright layer or the normal exposure. So that is adding a darker layer overall. Then I added what's known as an adjustment layer to again kind of dark in the image down just a little bit, so that I can start doing my magic. So I have a layer here called chair chair one. As I click it on, notice the little highlight right there on the side of the chair, on and off. This is how you use layers. Okay, I just brightened up this area of the couch. Okay, Another area of the couch. And just watch as things build the flower pot right here in the foreground. Okay, than the share the reclining chair over there brightened up with stool and so on. This is how layers work. It allows you to add things light or dark and specific areas, and then use layer masks too, for the most part, to just create an effect that you want to dio Here I went in and brightened up the ceiling a little bit by selecting just the ceiling on a layer on its own. So that's kind of how layers work. Every single layer is in a different element within your photograph, just like the puzzle. Here, add a piece at a time, take something from one photograph and put it on its own individual layer and blended in to your overall scene. There's also some things you can add also known as adjustment layers, because these are separate layers that you can add to create a specific effect for one particular element within your scene. So I've added a curves adjustment layer here, and we'll get that to come back up and pull it down into the image. Now, Aiken basically lighten or darken the overall scene, which is what I'm doing. So the next thing I'm gonna do is I'm gonna add adjustment layer right above layer number five here, and you can see what happens. This means that the adjustment layer is on Lee going to affect the layers below. So I'm gonna lighten and darken Onley, affecting the layers that are below that adjustment layer. So if I want to affect the whole group of images or whole group of puzzle pieces, I would do an adjustment layer above, or if I only want to affect certain layers below. I would do it right above the top image that needs to be part of that group. The other thing you can do in layers and I encourage you to go explore this much further is put your layers into groups so that you could make individual adjustments on each layer. There's just all kinds of things you can do. But I think it's important for this course that you kind of get a good understanding of how Photoshopped layers work. And as you'll see throughout the course, you could make a lot of magic with Photoshopped layers. 4. Using Photomerge: this tutorial is to give you an idea of how you can use photo shops, photo merge for other situations that might be a little bit complex. Here's a building right here that I was shooting with my 17 2 35 wide angle zoom lens. The difference here is that I had my cannon camera that had a cropped sensor, meaning I'm not getting full use of the 17 millimeter part of thes 17 to 35. It's more about 24 millimeters with the crop sensor my Canon five D, which is full frame, and I use it mostly for my architecture. Work was out for service. So this is what I got when I used the 40 deep. And this is a problem because you can't get the whole building in there. I can't back up to the building that's behind me. So I'm using photo merge to help create a full range or the full building with space around it and so on for a nicer architecture shot. So what I did was I shot the building horizontally, and I shot it in five frames. This allowed me to have a lot more room on the left and the right. And let me emphasize the more room you have, the easier this techniques going to be. So I shot the level street with some foreground in it. Basically. Then I shot ah, little bit higher. Then my next image was a little bit higher and yet again, a little higher and a little higher and that, you see, there's lots of room I'm having. About a 50% overlap between these different images purposely so that I can give the Photoshopped as much information as possible. Photo merge supposedly only need 10 to 20% overlap, but in this case, I have found it works better if I do. About a 50% overlap between the five images. So now we're gonna let photo shop photo merge those. Okay, so the first thing I'm gonna do is I'm going to open up the images for photo merge so you goto file automate and photo merge, and then it's going to ask you to select the images you want to use and those air down here little ways. And I'm gonna use the raw files again just for maximum quality. Okay, then I'm gonna go ahead and go. I always leave it auto selected. I don't really care about these other ones because I find what I'm doing Seems to work best with auto have never had to switch for any other reason. Well, there we go, and photo shop is done merging. And as you can see, if you look over here, Photoshop takes each image and it creates masks based upon which areas it thinks is gonna merge the best. Not quite sure how it all works, but it's pretty interesting. It used very little parts of some images like this one and lots more of the other. So ah, here's my base image to get to work with. So the first thing I'm going to do is save it, and I do a save as, and I'm just going to give it the name high rise panorama, and we're going to call it five because I've already done a few others. I'm saving it, so I have the layers. So the next thing I'm going to dio once that is saved here, taking a little bit, it's a huge file, and as you can see, photo Shop did a really good job putting it together and blending it. You see these little cracks right here, And that's where the masks air coming through. But I have found once I'm done flattening the image and stuff. It worked pretty well. Those seemed to disappear. So first thing I'm going to do since I've already saved it is I'm going to flatten it, layer, flatten image so that I can just work with the base image. I'm gonna make it a little bit smaller. So the first thing I want to dio is See how I can go about skewing it to make the building edges straight. And I'm going to start with the lens correction filter. So that's filter distort lens correction. Let's see what we get. Okay, I'm going to make it a little bit smaller and, as you can see, will bring this within the screen that I'm recording here, making a little bit bigger. Okay. With one that I use almost the most her I should say the one I used most the time is this vertical perspective. So I'm going to start by tweaking this to see how close I can get. Okay. Look what's happening. The top of the buildings going off the image, so that's not gonna work. So here's the solution I've come up with. I'm gonna hit. Cancel on that. I'm back to the building here, Okay. To solve that problem, we need to increase the canvas size a little bit on the top here. So what we're going to do is go to image canvas size, and we're going to add about two inches to the top of the picture and to tell photo shop where you want that additional canvas to go use thes arrows. So if you click that one, it moves your picture down here and the canvas will be added above as it's done right here . Okay, The next step is we're gonna go to filter distort and lens correction, and here we're going to I'm gonna move this in a little bit closer so you can see the sliders and the action here, and the one I use the most is this vertical perspective. So here, I'm gonna try to straighten out the edges of the building. Some and I have maxed out my slider a little bit, so I'm really pretty well done right there. So we're gonna go ahead and use that by hitting. Okay, Very good. So what it's done, as you can see, is it has straightened the building out pretty good. I'd like to go further with that. So what I'm going to do now is select all this white around here with the magic wand. So clicking on that hold down the shift key to add the additional amount, Then I'm gonna go up to select an inverse it. Now the picture is selected. The next step is I'm going to go over to edit, Transform, skew. Now I can start sliding the sliders out. Or I should say, pull these points out to try to straighten up the edges of the building. So the thing you should understand, though, this is kind of a last resort. If you have to do it this way because it really it's tweaking pretty extreme and flattening the building and so one. All right, so I'm gonna hit okay with that. Now I'm gonna go ahead and do it again. This time, I'm going to, uh, again use the edit free Trent or skew and start pulling them out again. Try to get the edges a little straighter. As you can see, it's kind of flattening the building out. So we're gonna deal with that here pretty shortly, and that's not bad. Keep in mind, this line right here is the one that needs to remain straight, at the very least, Otherwise, it looks like your buildings falling over. Okay, next thing is I'm going to just go with free transform, and I'm gonna make the building a little bit taller. Or you know how it should look for the most part mawr about in that range right there. Okay? And I'm still a little crooked. But you know something? I could be comfortable delivering this to a client because obviously, they have to understand that, you know, the limitations were up against, but on the other hand, there's no reason to be done. So I'm going Teoh de select. And then I'm gonna re select the outside edges, and I'm going up again to edit, transform and skew. Here we go again. Gonna try and straighten out those outside edges a little bit better looking pretty darn good. Okay, One more time with free transform, just to see if I can or should give it a little bit more height and becomes a judgment call for the most part. But I'm pretty happy with that. I think it looks pretty good. I'm going to select the rectangular marquee tool coming here and control DD de select. Go right in here, raise it up and go to image crop. So there we are. Not bad. Not bad at all. So here is an option for you to pursue. If you cannot get a tall building in your entire frame, you can just crop it up. There you go. Photo merge is a great tool for really getting out of a bind. Have fun. 5. The Lens Correction Tool: hi and welcome back. When I want to talk about now is lens correction, and that is adjusting. Your images toe have perfectly vertical or perfectly straight verticals as well as horizontal. It's imperative if you are in architecture or real estate photography, that your verticals, for the most part, are all straight. It's just pretty much an industry standard and not accepted otherwise. Unless, of course, you're being creative in doing images like this right here, which is sort of a ah more of, ah, fine art type shot rather than an actual architecture shot done for a client in which they expect the verticals to be done. You couldn't really correct this because at the base of the wall looking straight up, it's just not possible to really correct that. But when you're shooting high rise buildings or home interiors or any kind of interiors, it's really imperative that you set up to make sure all your verticals are corrected. Now there's ways to deal with that. If you are shooting interiors and have a wide angle lens and your cameras absolutely perfectly level, then you shouldn't have any problem with verticals. The problem is, and I've alluded to this in other videos is that a perfectly level camera does not always capture everything that needs to be captured about the particular subject you're photographing. So in that case, you either need to use the lens correction tool, or you need to get a perspective control lens and shoot with that, and that will solve the problem. And then you don't have to go in and do any post processing in photo shop or light room or anything else, and this is a good way to go. But it's not the only way to go. And the reason is, if you buy, for example, the cannon 17 millimeter lens, then you are stuck at 17 millimeters for most your photos. And that's one of the reasons that I don't use that lens and prefer to use my 16 to 35 zoom . For the most part, where we're gonna look at now is how to use photo shops lens correction tool. This is available in light room, and so you can do all these changes in there as well. So here's an older image of mine. A high rise building cameras tilted up, and as a result, it is, uh, got tilted edges. So we're gonna fix that. So you go in tow filter, you select the lens correction tool. Your very first tab is auto correction. I don't ever use this. I prefer to do it manually, so I'll go in here. There are a number of things in here that are very useful. The main one or the 1st 1 I should say, is distortion. This is very useful if you get barrel distortion from your lens. Some wide angle lenses create some distortion when they're really wide. I don't have that problem with this image, so I don't need to fix that. And then also, chromatic aberrations is another very useful tool when you blow open image really big and you start seeing green, yellow, magenta colored edges where along, like the edge of a building or similar, you can go in and minimize those using these sliders. That's not a problem with this image as well. And then, of course, vignette either darken or lighten. And how much vignette here I do use that, but never for fixing ah edges and stuff like this. So the tool we're going to use right now is the vertical perspective. So let's just go in and start fixing this image Now I'm gonna stop about right there. So as you can see, this is still not quite straight. Even though I've raids the building, the outside edges. I brought those in, so to speak. Or maybe it should be looked at as expanding the tops. But what you need to do is you always want to start with center line. If you can line that up first, then when you bring in the edges using the vertical perspective, they come in equally and you won't have to continue to rotate. So this is pretty close to being straight. So I'm going to take a guess that it's at 363 degrees. Casey, I'm still a little bit off. This is not quite straight here at the very top. So let's go to three. 58. Oh, no, that's a lot better, but probably a little too much. See this top line when you match the grid is closer than it is down here, so that's too much. Let's go to 3 59 Okay, that looks awful straight to me. And by the way, I failed to mention I always use the grid because that helps us right down here at the bottom. And you just turn it on and off and you can adjust how tight the grid is, how loose or how tight it is. And I'm gonna be writing here in about 35. I tend to like that size. Okay, so we got a straight line in the middle, but we still have curd edges out here, so I'm going to keep going a little bit, stretching it out. And that appears to be pretty straight. Now, if I look at this, I'm pretty straight in here, but I think that I am a little off over here, but I can't really tell. So I'm gonna go back to 3 58 and then I'm going to take the vertical perspective back in and land and get the edges just right again. Now that, to me, looks a lot better. Now I'm done fixing the vertical perspective, but notice how close I came to the top here. I'm going to use this scale which brings your image back in. And I go until this line right here hits the bottom part, Then this line hits there. And that's where I'm gonna crop if I continue going. For the most part, I'm really reducing the size of all the pixels and I don't really need to do that. So I'm gonna come back right about there, and that's what I'm going to use to crop now. We're pretty much done with this, so I'm going to do that. Then I'm going to come in and I'm selecting this side cause it's higher up and then I won't get any of the white. This picture is a little fuzzy because it's a duplicate. Okay, then image crop. There we go. We have a corrected image. So let's take a look at another one. Okay, Now here's another building, and this is across the street with a 17 millimeter lens. Now, one of the things that I do to try to diminish the amount of distortion is, and I should say, actually, the converging of the vertical lines is to try to level my camera and zoom in and out. I want to zoom in enough to kind of fill the frame so that I have more data in my raw file . But also the leveller. My camera is the less converging vertical lines, which means you'd have a lot of foreground in the street with the building kind of being in the upper part of the picture. And so you need to be careful, though, because if you that image that needs to be blown up really big, you've cropped it really small because you get rid of all the foreground. So I go ahead and try to find a compromise of tilting my camera up and getting it all in while also trying to minimize the distortion. So in this case, this one's pointed up pretty good, and we're gonna go ahead and use the lens correction tool again to go ahead and line this guy up, and I see a few things going on here. But one of the things I want to do first is go ahead and do the vertical perspective as best I can. Then I can address some of the other issues that I see going on notice how the building climbs as I straighten it up. It's difficult to ah, and I've gone pretty much all the way I can with the vertical perspective. So I'm scaling it to bring it back into alignment. Now, if you look at this, it looks really fat up here in the mill. So I'm going to play around and try some things to adjust that when I'm looking at the lines on the building, I am not very straight. This line right here again, the center, The line on the building on this edge of the building meets this grid line. That's right here, down at the bottom. So it needs to be rotated a little bit. So I'm going to basically try to rotate it to the right a little bit. And I gave it a whips. I gave it a one, and vab very closely lined it up in the center. If you follow the grid line right here, it matches that line. Very, very close. All the way to the top. In fact, probably all the way to the top. Enough to count it as good. So when you then come over, look here, these lines look pretty good. I'm gonna go in here. The vertical perspective control is already as far as it'll go to the left. But it worked pretty good again as I compare the lines with the grid and the lines on the building. It's not bad. Now I see some mawr separation here, so maybe I need to back off a little bit. All right? I'm playing around a little bit, but once again, I think I'm better off where I was in the first place with the vertical Caribbean pretty much maxed out. Okay, so this looks pretty good, but doesn't it look like the top is just a little bit fat? And that's an interesting situation that I haven't quite figured out. Like it? Uh, well, I just don't quite understand it, but so I'm gonna go in, and I'm going to see if removing some distortion thins it out a little bit. And, um, it plus five and see that helped a fair amount. The building destinies go back to the newt or the zero position, and you can see, as I get extreme how it's bulging. And yet you can reduce that by using the distortion removal slider and then going in and playing with that just a little bit. Now again, my verticals air off a little bit and I have no more room to go. So I have to back off this a little bit. So in the end, I stopped right there and feel that plus three made it look pretty good. So I'm gonna go ahead and stop right there. I'm going to go back and re adjust this scale so that I'm keeping most of my image knowing full well that I got a crop it right on this edge right here on that corner. And I'm gonna leave this corner in here. Even though I don't like the construction fence there, I'm gonna leave that corner in there because I need it. But look what happened to the top. So I went a little bit too far. So I'm gonna back off again, get some blue sky in there, and I'm pretty much back to where I was. So gonna go ahead and leave it there and then I'll crop in closer to get rid of this building and pretty much center up the image. So that's it for the lens correction tool. Here. We save it. We come in Ah, pretty much start down in the corner and go over to the other side. And I'm going to image crop. And so that's my final image. Now again, when I look at it, it seems to be bloated at the top. So let's add the grid and look again. And for the most part, it straight in the center. It looks pretty straight on the side. Over here, this corner seems to be in just a little bit. So So I'm gonna go up and I'm gonna go edit, Transform, distort. And I'm gonna pull this out to the side just a little bit. And it went a little too far trying to keep this edge pretty straight. Let's see, these edges are a little pretty straight. I'm gonna go back in just a hair. We'll compromise, and I'm gonna go ahead and stop there. I think that looks pretty good. So anyway, that's how the lens correction tool works, and you're gonna find yourself using it a lot on room interiors. So let's move on to the next video 6. Using Lens Correction #2: Okay. What we're gonna take a look at now is the lens correction tool in photo shop. What it's designed to do is help you deal with a number of issues, but namely distortion converging lines here from having to tilt the lens up rather than keep the lens level. If the lens was level, you wouldn't have these converging lines. So using the lens correction tool will help you fix this. Plus, we have a little bit of distortion going on here. This this is sort of feels fat to me. And so I would like to push this area back a little bit, which is gonna visually make this appear to come forward a little bit. So there's the problem now. I wouldn't have this problem if all these vehicles were not parked in front of this house and because I was shooting it for real estate. I didn't have time to go knock on every door in the neighborhood, trying to figure out who it waas in. The home owner wasn't home. And so there was just no way to know I would've preferred to be parked here myself, set up my tripod very high and shoot over the fence and not have to deal with this distortion and being so close. This is a 17 millimeter lands I'm Aske Llosa's Aiken. Get or actually I mus far away as I can get to try to get this all in the frame, and yet it's distorted and has converging lines. So what we're gonna do is we're gonna use the lens correction tool in photo shop. There are a couple features in here that are very, very useful in correcting your images. Number one. Down here, we can turn the grid on and off. I use that to make sure that I don't overdo it or under do it when I'm lining up these lines or correcting those converging lines. You also have a preview, which you can toggle on and off to see your corrections as you go. Now there's an auto scale image feature here, and it actually is aligned or works with different camera profiles, and this is pretty cool. I shoot Canon. Unfortunately, it doesn't have my five d in here, but it has the five d mark, too, so I'm gonna go ahead and select it. And then I used the 17 to 30 millimeter lens so you can see it went in there and I'll preview it on and off. And it pretty did a pretty darn good job of correcting that distortion that I had when I created this image. So and that helped. But of course we're not done here by any means that we still have some pretty bad lines. And its job was to get rid of the distortion for the most part anyway, Now, you can also actually believe that on you can also come up here and select chromatic aberrations, which will help get rid of the color bands or the aberrations in the edges and stuff. And it does help. And also there is a vignette. Some of the lenses that you might be using are known to get either darker or lighter corners with the been yet ing, and so that's an option. And you can turn that on or off, depending on the lens you're using. If you notice that you have that kind of problem, turn that on and check it out and see what happens. So so this is option one. This is automatic geometric control. Now, over here we have the custom, you can go in and pretty much do the same thing. And I prefer to do it like this a little bit more manually. So I'm really pushing this back quite a bit, and I'm not. I mean, I'm getting rid of the barrel distortion, but it gets the same time. I'm not really fixing problems like this pitched roof look and that sort of thing. So I want to be careful how far I go. So I'm gonna go in and do this just a little bit, okay? Then you can go in and you can correct the chromatic aberrations for each of the color channels, and you would blow it up big and go in here and look at the edges. And we'll do that right now. And you can see there's a chromatic aberration there. That's the red scion. So we can go either way. So we get Yeah. I mean, that helped right there, where the other way makes it far worse. You can look at these leaves here. When I do my photoshopped processing, I get rid of these things like this. So I will give this just a little bit of see how far we got to go to kind of make that edge , that scion colored edge go away and that's looking pretty good. I don't want to overdo it too much, So we'll zoom back down to our full screen image here Now, the other up sliders that we have, you can again do the vignette ng for the different lenses right here. If you feel you need to do it again over an auto correction up here, we had that feature. Ah, I don't seem to have a problem with my lenses too much, so I don't do that. Now. The tool that I use the most is vertical perspective because I'm almost always tilting my lens up. If you see here, this is going to go one direction, so we'll show you okay, And then this is going to go another direction. So if you were tilting your lens down, you would use the opposite that you would on this house. So I'm gonna come in here and I'm gonna keep going on a bend it up. Now, down here, we have the grid. I use this all the time to make sure that I've got my edges pretty straight. And if you look at this pretty darn good, I can probably stop right there. Now, here is horizontal perspective. You can go this way or you can go this way, and I'm going to go this way just a little bit because this house again has the distortion created by the barrel distortion. Then I'm gonna go back up here and see what happens if I go in and push this back, even Mawr, and it's starting to look pretty good now. I created a little bit more tilting here, See the curvature. So now this tells me that, uh, these edges are leaning in, but if you notice this is more the center of the image right here and this line is lined up on the edge of the window pretty good. So the image is not tilted the wrong way, But you can. You can do this if you've got something that wasn't straight. So I'm going to go ahead and just zero that back out, and then, um, you can go in and give it just a little bit more of this to straighten up the outside edges of the house, and that's looking pretty good. Now, the last thing down here, which is very cool and effective, is you will find that sometimes when you're correcting your final corrections gonna be like this like a room interior something. And of course, you don't want to cut anything off, so you can bring this back down and get it all in this screen. And I only go enough to where I know I'm going to be cropping within these curves on the bottom and the curves here in the curves on top. So I don't want to lose anything. So I go ahead and I will scale it up or down till I get it all in there just right. So let's take a look at this. And there is our finished corrected image. Now again, it is not perfect by any means. We still have some sort of leaning. We got an edge going this way. We got an edge. It's kind of going that way, but, you know, it's not as bad as it could be Now. One other thing that I will do sometimes is this. This is bothering me here, so there's a couple things that I might do here. One is I'll hit Controller, command A for selecting the whole thing and then command control T for the transform tool. And I might come in and squish this down just a little bit. Ah, as a way that might possibly deal with this high pitched look, I don't feel that's working so well here. So I'm gonna hit the escape key. I'm gonna go into image and I'm sorry. Edit, transform and warp. I use skew. I use distort. I use them all. So I'm going to come and just bring this corner down. And it's really on Lee warping or transforming the area that's in this square or quadrant. Whatever. And so I'm gonna come down a little bit more to try to a lesson. That high pitch there of the rough I'm gonna hit OK on that or enter because I think that looks pretty good. I want to make sure that I can still get my crop in here on the house and have it look good . Okay, so the next thing I want to do is I'm pretty happy with over here, but this ah appears like it's tipping over and this is leaning in and that's tipping over. And so you what you'll find is a lot of this is a big experiment. So I'm going to keep trying a couple other things to see if I can straighten it a little bit. So ah, select the entire campus, come up to edit and edit transformed. And I'm gonna use warp again, and I'm gonna go. Just gonna grab the edge and see if I can push this out a little bit. Then maybe come up here and lean that in just a little bit and come down here and push this in just a little bit. See how that might work. We're straightening up the edges on its looking all right, like it's already improving a little bit. And so I'm gonna hit OK or enter on that. So I think it's looking pretty good, but I want to just sort of verify me to come up here and go Ah, show grid. And then I'm going to zoom in here a little bit. And by golly, that looks pretty darn straight on all of these. This one still got a little bit of tipping to it, but I lined up that outside edge Pretty darn good. And so I have no reason to not be happy with what we've got. An image that was terribly distorted, and now it doesn't look too bad. So I'm gonna go in here for my final cropping using the rectangular Marquis. And I'm gonna come in just a little bit because I have this down here. So I'm gonna come in about right there at the top, come over right up to the edges here, image crop, and there's my final image. So let's take a look at where we started from open to crop. That's pretty darn good. And I know the Realtor would be happy with that, for sure. So in summary, I would do all the processing with my original bracketed exposures. If, for example, I'm doing hdr, I would go ahead and process the image. I would retouch out the hose here, clean up anything like that, get rid of these branches, and so one before I come back in and do the lens correction tools. It's the last step that way. I've combined all the layers that I need to do before I tweak everything in the correction tools and throw things out of linemen, meaning if I had another layer and I decided at it, it's in registration with the other images that I used. It wouldn't fit because I've changed the perspective. So that's important that you follow that. So anyway, there you go, an introduction. Toothy lens correction tool. 7. Dealing with Distortion: What I'm gonna take a look at now is using wide angle lenses at their widest settings in getting very close to a property like this house here. This comes from one of my students in my online courses that I teach. I do some critiquing for her of some of her work just getting started in real estate photography. So this image, you know, for the most part does look pretty good. But I want to point a couple things out. First of all, it's very distorted. There's a lot of distortion here going up. This is from getting in close and then tilting the camera up slightly. This converging line is going to be easy to fix in the lens correction tool, but when we do that, these peaks are going to get even higher and even more distorted. So I'm gonna look a couple ways here that you can fix that. There's no perfect solution. Generally speaking, there's just some things that we can try to sort of bring the distortion down and under control. So the property looks good. This is the back side of the house Now. If you were back further, you would be zooming in a little bit more, you wouldn't get the distortion. These lines right here of the roof would be leveled out a little bit more, meaning these peaks would be a little bit lower if you were able to get back and zoom in a little bit. But when you get really close with a wide angle lens, things start happening. The perspective of AH wide angle lens starts to push things out in directions like this and down this way and this way and this way it's forcing things to spread out at different angles, the close you get with a wide angle lens. So if you look here from the cameras perspective, you are looking down at the ground here. You're looking down to ground here and you're looking up and you're looking up. But if you got back and zoomed in, you would be looking mawr straight at this corner, this corner, this corner of this corner or the house. This would be, rather than being so high above you would b'more out in front of you and that's going toe. Lessen the distortion from getting so close with a wide angle lens. But let's look at a couple ways that we can fix this. One of the things I'm going to do first is I always duplicate my background layer. So I could easily get rid of things because history only keeps so many states that you can go back in the history palette of Photoshopped. So I've saved that. Then I'm gonna come in here, and I'm going to go to the lens correction tool and I got the grid on. That helps me keep things straight. But I'm gonna go to custom here and go ahead and fix the vertical perspective. And I'm watching the lines here to make sure that I'm straight and that right there is almost perfectly straight. So now we've cut off the top, so I'm gonna go back in and scale it and bring those areas back in, and I'm going to keep all of the sky that we have above the house, which I'm probably going to need later for cropping. So I'm gonna get that Just snuggle the top. Okay, I'm gonna hit OK on that. And now we have basically corrected the house. Now we still have our peaks up really high and distorted. So One of the things that we can do is to come in here and just do control T and that's transform tool and just start bringing this down a little bit to a point where you feel it's believable. You haven't necessarily changed the perspective, but you flatten it out just a little bit, and it might not make it look like it's so tall. So we could leave that right there. So another possible option and again, you're gonna want to experiment to you, find what you like has come to transform. Let's try it again here and distort, and you can come in and grab the corners and pull things down. You can move him around, stretch him out. I prefer to try to stay pretty straight up and down, some holding this shift key so it doesn't go left and right. But I also want to do the same thing with the bottom and kind of lift that up a little. Now that's widening the house a little bit, but it's also dropping the pitch here or the point a little bit, so let's see what that looks like in comparison to the original. So there's the original. And there's the with the distortion tool. Now we're gonna have some problems when we come into crop, and I'll show you that right now, keeping right there coming in. We're gonna be taking off the chimney a little bit, so that could be a problem. Let's see what it looks like here. Yeah, not that great that the chimney was lost. So let's back up. And I've reset it to back where we were after the lens correction tool. Lets go in again, go to edit, transform, distort and do it just a little bit less right in there. I don't think I'm gonna lose top of the chimney, but I could bring this side down a little bit more as well. Keep it pretty level. Yeah, keep it straight. Okay, let's see what that's gonna crop like looking to keep the original perspective. All right, Well, crop that now that doesn't look too bad. So here is our original photograph before we corrected it. And here is after using the distort tool and the lens correction tool, and it's a little bit more balanced again. It's not a miraculous recovery, but it does look a little bit less distorted on the peaks are the top points here of the image. So that's one technique. So we looked at doing control t transform tool and just dropping it down to flatten it out a little bit more or using the distort tool. So let's go in here and try. Oops. Another alternative here. Okay, so this is what it looked like after we did the lens correction tool and straighten it. Now we're gonna go in here, gonna go to edit, transform, and just look at a different alternative eternity using perspective. So again, the goal is to get the top points a little bit lower in the image. So I'm just dragging this down. Notice that this time the bottom comes up, they both go together, and then we'll go down on this one as well. Make it pretty level. This is probably not a whole lot different than the control transform when we were just pulling the top down. So that doesn't look bad. Let's see how that's going to crop with. We'll keep the top in there, bring the bottom in. We got a little bit of room to play here, so we'll drag this over. Okay, lets Crop that. Okay, so let's take another look. There's our original. I should say, Here's our original. Very, very distorted. And then we've gone in and we've used the perspective tool, which is edit perspective and lowered both corners down, which I believe is similar to flattening it with the transform tool a little bit. And so it's not quite as distorted as it was, and I think it's a definite improvement over the original. Okay, here's another one from the same student, and it's got kind of the same problems. Not too bad, though. Still pretty pitchy should be easy to fix. One of the things again of the distorted wide angle lenses you've got, uh, the brick lines going downhill, the brick lines going down here. This seems between the bricks. So first thing we're gonna do duplicate the background and I'm gonna go up to lens correction dual right there and going to, uh, fix the distortion right off the bat, keeping an eye on lines that are in the center of the image for straightness in the center . And then you match the outside lines. So this is looking pretty good right here. but this is starting to lean out. So I've gone just a hair too far, so let's bring it back in. Okay? Looks pretty straight all around to me. Now, another thing that we can possibly do in here that might help this distortion is too. Do the horizontal perspective and we're going to go this way, which is What's happening is it's making this side of the house taller. Okay, I'm gonna keep going a little ways. It's diminishing the right side. Now I'm going to do this scale. I don't want to go too far so that we have room to crop with plenty of the image there. Okay, I'm gonna stop there. Now. Again, you're gonna be fine tuning this. You're going to be experimenting and trying different things to find what works. So next thing is, I'm gonna come in here to the distort tool. Ah, transform, distort. And I'm going to bring this side down. Holding this shift key keeps it from going left and right. But basically top to bottom works just fine. Okay, I'm going to stop there again. This is a just to taste. Obviously, I'm gonna turn on the background. The original photo leaning in very distorted, but we've sort of managed to make it look a little bit better. So I'm gonna crop it using the same crop ratio that the original had and will come in from this side. And I'm gonna keep the bottom driveway and everything, so I'm not going any lower or higher on this corner down here. But I am gonna bring this down because we don't need that much sky. And we don't need to see the neighbors that much. Okay, lets crop it. All right. So there is the cropped version of or I should say, there is. The corrected version looks a lot better. So again, here's our original leaning in and a very high pitch here is the corrected version flattening it out lens correction tool, using the horizontal adjustment and the converging line or vertical line adjustment. And then using the distortion transformed distortion tool to come in here and drop the corner down and flatten it out a little bit and again a vast improvement. So there's a couple options for you to use when you've got, say, no room to back up from a house and you're forced to shoot close, and you've really got the distortion like this original image here, you know, with high points on the roof. If you can't back up and you have to shoot this way, you do have some options to go in there and do some fine tuning, and it's going to take some practice. So once again, in summary, you're going toe. Want to used the lens correction tool in Photoshop as well as edit transform, and there's a whole bunch of tools in here you can use. Including perspective is another good one, so anyway, have fun with it. 8. Using the Warp Tool: So the next thing I want to demonstrate, here's a tool that could be of interest to you. I don't know that this is gonna work better than the lens correction tool for fixing verticals and the various angles that are off a little bit when correcting your architecture. In real estate photography, I find the lens correction to a little bit mawr adept at doing this particular task. However, this is an interesting tool and worth demonstrating. So here you have appear in your crop tools. You have the perspective, crop tool and what you do as you draw a line down that's going to mimic the edges you have here like we have over here, you can see the building is leaning in. So what you want to dio is straighten that out, and this tool is pretty interesting for that. I think it's probably much more suitable for landscapes and and broader scenes, but it's gonna work here to a certain degree, and it's fast. And so that's another advantage right there. And so whether you're going to use it in your real estate, photography or not, of course, is going to depend on your preferred way of working, So it also crops the picture, so that's important to know. So So we're going to start by picking a spot up here where we're pretty much ready to to crop out the picture. What you have to do is try to draw a line that mimics this edge and you can find tune it. So I'm gonna start up here because I want to leave a little room on the right side of the house and then I'm pulling it in and out in an effort to try to match that edge of the house right there. So I'm almost gonna be bottomed out down here. But I'm gonna pick that right there, make a straight line across as best I can click again to set a point. And now I'm trying to mimic this edge right in here, or I should say, matches a better term. So I'm gonna come out a little bit more, and that's probably about right there. Now if you just hit the enter key, it crops it and it straightens it, and it's fast. So let's see how accurate I was with that. I'm gonna turn on the grid and it's a little bit off. It's still a little bit skewed in. This appears to be a little bit skewed out. So not a big deal. I would. I'm gonna fix that. However. So what I'm going to Dio is adjust those edges just a little bit. So I'm gonna zoom out just a little bit so we can see more of the building. Then I'm going to come up and, uh, hit the transform skill. And I'm gonna pull this out. Just a hair. Just make it straight and bring this one in just a little bit to make it look straighter. So hit enter to save that, let's zoom back up and see how we did. And pretty good. Still not perfect. But again, the thing to ask yourself, ISS, what's the use for? There you go. That's the perspective. Crop tool. How useful is it gonna be for you? That's a good question. You're gonna have to be the one to decide that. So now I'm going to show you another tool coming up. So in our next tool here, we're gonna use the warp tool just to change things a little bit. This image was seen in a previous video, and I showed a few ways that I was trying to get rid of the pitchy nous here, the extreme points that are coming with this and again, This is from being so close with a super wide angle lens. And I believe that this camera was a small sensor crop fame camera with the equivalent of around 10 to 20 millimeters, very up close, and she got it all in the frame. But it creates this pitchy nous. So I want to minimize that just a little bit. Not gonna be able to make it perfect, but we're going to be able to make it look a little bit better. And so first thing I'm gonna dio duplicate the background so the transform tools will work . I didn't mean to create an extra layer at the same time. Then I'm going to control a select it all and go in and transform. And the warp tool these areas right here are the areas that I want to minimize the most and what I have found. And I'd like to not affect this as much if possible. So I'm going to drag the outside corners down a little bit that's bringing that point down . You got to be careful how far you go because the rather roof is starting to show from the background layer. So I'm gonna back off right there, and I'm gonna come over and do the equivalent on this side, which is about right there. A few other things I could do is I could try to push this up a little bit, but that's kind of changing back to the way we were just were. So I'm gonna controlled. See that? I don't want this to go up any higher, pulled down on that just a little bit, and that helps a little. But see, everything else comes with it. So there's some tradeoffs. So let me get rid of ah, or control Z that a little bit. And so I brought it down a little on both points here. So I'm going to stop there and I'm gonna hit the enter key. And let's just toggle this on and off. Yeah, it's a little bit shorter, The pitches down just a bit. The angles air the same, but it just doesn't quite look as pitchy as it does on the base image and there's a little bit more room above the house. Now there's a little bit of retouching that's going to need to be done to blend this a little bit, and that's not a big deal. So controlled D gets rid of the selection there. And again, let's take one more quick look. Not bad. Do I reuse this Very, very, very, Very rarely. Do I ever need to do this? So But it's another option, so let's come. Okay, so now there's just a little bit of clean up in the duplicated areas up here, so I find the easiest way to do that. It's not to bounce between two layers, so I hold down Shift Control and Ault, which would be shift control and option on the Mac and the letter E. Now I've combined those two layers into one layer, and I can work on them here. So next select clone stamp tool. Hold down the all key sampling area, come in and just start getting rid of what obviously is floating debris left over from using the warp tool. You can see some things in here, so I'm going to sample down here and just kind of blend a little bit and do my best to make it match and not look like that stair step effect, which is really bad when you're using the clone stamp tool and come over here and do the same thing. Just try to make the tree a little taller and match. Uh, up in here is a little bit interesting. So I'm going to clone a little bit in here and bring it over on top. Try to hide that line the chimneys behind a tree branch. So it's hard to see. You can see duplicates of this so we'll come in here and get rid of the top one. And for the most part, there you go. That's, Ah, I would say a little bit of an improvement on the pitch Penis. Not so dramatic. But you know something? You never know if you're not gonna have a client asked you to fix that. So there's the original. There's where we finished. We basically shortened it, and we reduced the appearance of the pitchy nous a little bit better. So see in the next video 9. Fixing Horizontals: So what I want to do in this video is take a quick look at fixing perspective. Control in the form of horizontal line. Have demonstrated in other videos ways to correct your verticals in Photoshop. And and there are the programs that do that like light room as well, but not so much on horizontal. So what I want to dio is kind of give you an idea on how there's numerous ways that you can fix something like this. And this image here was sent to me by John, who is a photographer and subscriber in my course. And he was asking me how to fix a horizontal line. Now, if you're looking at this, you may be wondering, What is he talking about? Well, it happens to be this edge right here, the countertop running downhill, this countertops going uphill. This countertop is going downhill, and it's just one of those things in dealing with perspectives and lines with wide angle lenses, lines that are above the center point. I don't know the technical name for the center point, but if you were to divide this image equally, enforce anything that is above that imaginary line is gonna get pushed up and anything that is below is going to get pushed down. And that's probably the case that happened here. I've looked at the image and number of times, and that's pretty much all I can come up with, as the reason is that this line is just a little bit too high in the perspective and subsequently kind of given the illusion is running downhill. In theory, if you look at it with the, um, Grid, that photo shop has its kind of running uphill like the other one. But it gives the illusion that it's running downhill. So anyway, we're gonna take a look at ways that we can fix that illusion. But here first is the original that John sent me. I was trying to figure out why it might be incorrect as faras. That perspective difference. John told me that he does use a bubble level toe level his cameras. If you look over here, this vertical edges perfect. But if you look over here, this one is not. This one's leaning in and ever so slightly, this would be hard to see in the field. When you're photographing, I'm gonna turn on the grid here in a photo shop so we can take a look. As you can see, if you're looking at this line right here, this image is tilting in a little bit, but when you look at this, it's running uphill. So truly, it's an illusion that that it line is running uphill. So this could be fixed in the lens correction tool in Photoshop, which is also covered in another video. But I don't like the rotate feature of it. It's too small, so you could go in here and rotate this a little bit and then correct it using skew. So we're going to start with that. You have to create a copy of the background layer to use to transform tool. So I'm gonna come in to transform, rotate, and I'm going to just rotate this ever so slightly to try to straighten up the lines here as best as I can. Now that's looking closer to being vertical. This one over here doesn't appear to have changed a whole lot, so I'm gonna leave it right there and then I'm going to go in, go to transform, skew and come out and line up the edges again. And as I say, the right side is not off just a little tiny bit pulling out on this. And then I'm gonna pull out on this as well until I get it equal, top and bottom. So that is pretty well straightened out for the most part and accurate. And, you know, as far as I'm concerned, this is just fine for real estate photography. The next thing I'm going to do is I'm just gonna go in and set a marquee around it. You might choose to crop using the crop tool, gonna do it with a marquee right now just for the expediency. So if you look in here the lines air looking pretty straight, Okay, they're looking straight here. They're looking straight here and looking pretty straight here. Now I'm gonna turn off the grid and we'll take a look and see if we still have the impression that it's running appeal. I think it's less so. I'm gonna toggle this on enough so clearly before I did the rotate and skew the countertop appears to be running down hill. But now it looks a lot more even so that's one way to go in and fix that and make the image look much more accurate as far as your horizontal and verticals. But I'm gonna show you a few more, just in case you want to experiment a little bit. So we're back to the image that John sent me. And let's say for hypothetical purposes that this is the actual image that came out of the camera and you want to fix that illusion right there. So I'm gonna use the skewed tool again in the transform features of photo shop. So here's what I did. Take the background layer, take it down and copy, because again, you can't use transform tools on the background feature. So I do a control A to select the image. Then I go up to edit, transform and skew. And I'm going to bring this just start dragging this down a little bit just a little. And I do the same thing here trying to make sure that I'm pulling it down by equal amounts in an effort to as well create a fix that illusion, so to speak. So I say that right there, control De gets rid of the Marquis. Now it doesn't look like it's going uphill. In addition, we don't really have to fix this up here because as you turn this on and off, if I turn this off, you can see the gap because the ceiling just kind of blended. So that's option number one. I'm gonna turn that off now. The next thing I want to do is use the same transform tools using perspective control. And so I'm going to drag down, make another background copy, and I'm going to call this perspective transform. And I'm going to rename this one while I'm at it so that I can remember which ones are which. And this is using skew. Okay, in the script perspective, transform. What you do is you come up, you control a again to select the entire image and then coming to transform and use perspective control. And this is a slightly different as well. Now we still have our illusion that this is running downhill. So one of the things you can do is also begin to enlarge the area, making this a little bit bigger, which sort of diminishes this illusion here a little bit. So I only went just a little bit I hit Enter to basically save that. I'm gonna put the grid back on here and see how well that really worked. Now, clearly, this appears to be running uphill. Would you want to do this? And you never want to misrepresent a room. But does this still appear to be believable? You've got to remember what we see with our eyes is completely different than the optics of our lens and how they are recording or capturing what an interior scene looks like. And lenses push things farther away and bring other things closer and that sort of thing. So you have to definitely keep that in mind. You don't wanna miss represent the actual appearance of a room, But would this be a lie right here? Well, I don't think so. I wouldn't hesitate to do it. And none of my clients are gonna look at this and say, Hey, that's not the way that room really is because all we're talking about is visual perspective. So let's turn this on and often kind of get an idea here. Okay, so that's another option. We have skew. We have perspective control. Now we're gonna go and use the lens correction tool. So I'm gonna come in here and save my background layer again, and I'm gonna name it Lens Correction tool. All right. I'm in a de select control de to de select the photo lips. Save that first. Now control de to de select the photo. So now we're gonna go in. We're going to use the lens correction tools. So will come up here, Select lens correction. Now, I'm gonna turn the grid off down here again. And if you look at that still kind of has that illusion, even though it's not true. So the first thing to do is I select custom, and I'm gonna come over and start just moving the horizontal perspective Slider. Now, this is exaggerating the illusion, so to speak, by making the left side come closer the right side further away. So we want to go the other way. And this is not really much different than what we did with the transform tools using perspective. But right here just a little bit. I don't want to cut this off down here, so I want to be very careful about how close I get, So I would probably stop right there. So let's look at the grid and see where we're at here again. Edges air all straight, vertically, vertically. This is really running downhill mawr than it was in the original image. So this also works and again is not really any different than using the perspective tool in transform. But to me, this right here definitely eliminated. Bad allusion of running downhill, so I would hit okay with that. So let's go back over here. There's the original right there. Creating that illusion lens correction, tool, perspective, transform tool. Very similar toe lens correction and then skill. So you take your pick. I think any of these would be suitable for a client. So there you go. See in the next video. 10. Processing in Adobe Camera RAW: So this video is to give you an idea and show you some techniques on how you can process an individual raw file to basically retouch in windows and lamps. Now the technique here is only gonna work in a few occasions, and I don't find that it works very well for big blown out windows because usually you have a higher dynamic range. More contrast. And it's a little bit more difficult than using some of the other techniques presented here in masking in separate windows and so on. But if you're shooting for real estate, and as you know, you gotta do that quickly because, as they say, time is money and you're looking for a quick way to basically process photos and get him delivered to the client, then this might work for you in some cases, but again, it's going to depend on the windows. So as you can see here, I've shot this room and I got a lot of bracketed exposures, lighter and darker. And I do that as I like to say, to cover my rear so that if some of the techniques that are faster don't really work, I have other options to go to. So the thing to do is to look for an image that has the best detail, and I'm going to go with this one. It's a little darker over here in the shadow areas, but it's blowing out here in the window. So we're gonna open this up in adobe camera raw, and you can see right now what is blowing out because I have the highlight indicator on which is up here in the upper right corner. And, uh, if I turned that off, then I don't see the highlight indicator. But here you can see that the window is blown out, the lamps air blowing out a little bit. And although there is some detail in here, there's a tiny bit of detail in here. It's still not perfect. So what I'm going to do is I leave this on and I come in here, too. The selection here and I choose auto. I let photo shop or adobe camera tell me how how much contrast my image needs and that sort of thing, and then I kind of go from there and it tends to work pretty good, and it works pretty good when I'm shooting for real estate and working really, really quickly. So one of the first things I'm going to do is I'm gonna add a little bit of detail to the shadow area. So I'm gonna come in here and open this up a little bit just to get a little bit more detail in there, and now I need to deal with this. So what I'm going to do is I'm gonna use the adjustment brush right up here, but first, I'm gonna blow it up a little bigger. I have the magnifying glass, so let's blow it up a little bigger. That's a little too much. Bring it back down and move it into working position. Then I'm gonna come over here and select the adjustment brush, and I'm going to start with a minus one stop because what's nice about the adjustment brush is that you can edit this stuff. I leave everything else set to zero, and I only adjust it if I need to. So it's already set to new because I opened up the brush. Now, down here, you can select the size of your brush, or you can use the bracket keys, which are easier to use in my opinion or faster shortcut keys, and I leave a little bit of feathering that's OK. And basically I'm just starting toe paint right over the red, and I'm doing on Lee the window to start because it's at a different opacity than the other . And then to come in and make my brush a little smaller just to go in and kind of touch this area right here, get the last little bit of detail here, finish up by brushing a little more. I didn't really make any mistakes or go over the line, but if I had, I would come back here and I would click on a race turning the mask off, and it shows that all the deal detail was retained. So now if I want to go a little darker, I could do that. But of course, all I'm doing is creating Gray. The reason is I didn't capture any detail out there because there wasn't really any to capture. It was a white wall on the side of the house, so it totally blew out, so I could probably just leave this somewhere right around a minus one point to 1.1, and that would, for the most part, provide all the detail that I can get there for the most part and again, there's other ways to deal with this, but this is the quick approach. Now I'm going to go in and do a second adjustment and I'm going to move. Used to move tool, and I'm going to do the refrigerator back here. Go back to the adjustment brush. It's set to minus 20 1.20 I should say, And I'm coming in here and kind of doing another quick brush over, Let's see. And I'm gonna have some cleanup to do here. So, as I say, the first approach is just your get it all done and then go in and clean things up as needed. So fridges a little dark up here and a little bright down here. Now, uh, what I need to make an evaluation is as to whether this was important to do back here, and I'm not so sure it did. There's not enough back here to want to worry about trying to get around the plants and the leaves and so on. So I used a race and I removed what I just did. Okay, so I've gone in, and I kind of did some adjusting here pretty much. Got it all. Now I'm going to back off on my exposure to try to remove the gray a little bit. And as you can see, that worked pretty good. There's no much highlight indicators showing up again, and so that's not too bad. Now I'm gonna move over here to this lamp shade, and we'll pull this up front and center and will come back to the adjustment brush, and we're gonna go back down to a minus one, which I kind of use is my default starting point. So I'm gonna come in here using the tool pretty big at the moment to try to bring back some of the detail here and all the way down all the way crossed. Now, make the brush a lot smaller so that I can go in and work down the edge all along the front edge here, make sure it's all even okay. Not too bad. Now I'm gonna turn that off. Okay? That's not bad. It's still telling me that the area here's blowing out, but there's the before and there's the after, So it is an improvement. One thing I did do is I went over the line right there, So I'm gonna come in and I'm going to touch up that edge along there. Thing to keep in mind is depends on how the client is really going to be using the pictures of It's just going on a website. Then it's not super crucial that you get all this because the pictures, for the most part, gonna be very small. Now, let's ah, come in and go to these lamps here, back to the adjustment brush. We're going to do new. I'm going to stay at one stop and I'm going to start trying to stay inside the lines, and it's pretty easy to do. So come over here. Do this one. I'm not doing the top of them because that I don't believe needs these adjustments, really. Just the blowout part down at the bottom. So we got a race, I'm gonna kind of fix the lines. I went over here. Okay, back over here you're from, or adding this this light really is not too bad, but I'll go ahead and give it a little a little bit anyway. All right, let's back off on that. Now, take a peek and we go to highlight indicators. See what we're doing. Okay. Still shows there some blow out. It didn't have that selected so they could go down about minus two to get them just right. So let's blow. Let's turn the highlight indicator off. Keeping it about one. I'm turning. The highlight indicator on and off still shows a little bit too bright in there, but for the most part, it's ah, retains some good detail. And again, this is fine for real estate. Okay, so here's the final shot I've brought down the brightness of the window, brought down the brightness of the lamps and those over there as well as the refrigerator anywhere that was showing clipping. Now, of course, it is going to continue to show this, but again I brought detailed down, and because it's for real estate, it's going to be just fine as it ISS. So I would say we're good to go on this image here 11. Processing HDR Images: What we're going to do now is take a look at h D. Are processing well. The first thing I want to say about HDR processing is there are many programs out there for processing HDR. I'm going to demonstrate Photo Matics. That's the first HDR program I ever got, and it's the only one I really use. I've never tried any of the other ones, but Nick Makesem photo shop also includes HDR processing. And there are many options out there for you when it comes to HDR processing at the same time. Ah, I claim to not be an expert on HDR processing. You may already be using it and have your own favorite methods Favorite software favorite workflow for getting things done. I'm just going to show you how I use HDR to help me speed up the processing of digital photos, especially the ones that I create for real estate. Where, as I've mentioned throughout this course, time is money. So again, I encourage you to use whatever hdr processing techniques and software you find work best for you. I'm going to show you again as I mentioned how I make it work for me so I mentioned earlier in another video about shooting for HDR and bracketing photo. Mannix recommends that you bracket a normal exposure and then a minus to a plus two, and I do that a fair amount. Once I have established the best exposure for the base image, and this image here, 24 is going to be the base image for this exposure. Then I have my minus two and I have my plus two. And these may not be perfectly targeted as far as the best exposure for each one, but I'm able to get a good image out of it using the HDR software processing. I'm also going to show you a little bit later in this video, where I bracket in one stop increments for capturing as much detail as possible, because the dynamic range was even more extreme now. The reason I didn't do that in these images is these are the highlights right here, and because there's blinds there, you're not really going to see the trees and the shrubs and the foliage and all that type of thing outside. So I just need to maintain enough detail in each of the slots for these blinds and I don't have to necessarily include what I see out the window. Otherwise, I probably would have gone with an even darker exposure than this one. You can see the lines right here, so all right, let's get over to photo Matics. You click on load bracket exposures going to browse, and I have selected starting with 37 to 4, some scrolling down to find those 24 25 and 26 Click open hit. Okay, and then there's a couple things here that are important. I, uh, took these on a tripod. You can click handheld, which means there could be a little movement between individual images between the three images, and it will align them. But I took him on a tripod, so that's good. I always like the noise reduced in my under exposed image and chromatic aberrations are absolutely a problem in a lot of cases. I also just leave. The white balance is shot and I could go to Pro Photo and get a massive file. But I don't really need to, because this particular scene is for real estate. So I'm leaving it Adobe rgb. So now you hit a line and process, and it's going to take a minute to do that. Okay? It brought up the image as an HDR image. As you can see, there's a little bit of blue outside. There's definitely detail in that window, a little detail in that window, and I like that it has a little bit too much of an HDR looked to me and I'll show you what I mean. Here is the same scene in what I consider an over processed HDR image. It's like introducing black into the the couch here. And you know, this is pretty popular when you're creating a grungy look with various subjects, but I don't think it works so well in HDR real estate or architecture photography. It just doesn't look good. Now, if you go to some websites from architecture photographers, you'll see some HDR processing like this, and I think it looks really bad. And what's most important is that you create images that look real that make the lighting look like it's natural and so on, and you're not getting that with this image in particular. And if you're going to be a real estate photographer and nothing else, that's fine, but you might also get hired by some of the home magazines. And they're not going toe Let you do this type of processing on your image. So I point this out to encourage you to not get this. Look, there's a lot of noise in the screen here. You can see noise in the black area. Here. You can see noise in there and it's just And then again, the black I mentioned, it just doesn't look rial. It looks illustrated, so we strive not to do that. Okay, so here's what it came up with mouth. One of things I like about photo Matics is and each year, software in general is it gives you a different different presets here, and so you can click through them and find what you like. This is called photographic and courses too dark, natural. And there is also in photo Matics now interiors and presets for interior photography, which is perfect for what we're doing here. I don't find anything here that looks all that perfect as far as I'm concerned, and so I'm not going to select any of these. Then, of course, you've got this really crazy stuff here. And that's fine for art's sake. But not for a business. Soft looks pretty good. I see That's not bad, but it still needs a lot of work done on it to make it look more natural. That right there definitely looks a little bit more natural in my opinion. But I'm gonna come back up to the top here, click on default again. And that's really not too bad and photographic. A lot of times can look pretty good, but not that great. The key here is exposure fusion. A lot of times fusion and real estate, so you can start moving the sliders. I just blew out the highlights there, so we're gonna be careful with it here. The shadows are way too dark. I'm brightening those up. But see, that didn't do a whole lot local contrast. If you want to know what each indicate or each slider does, you just got to read it down at the bottom here, down in this area And believe it or not, as much as I use this, I still have to go in and look now back to exposure fusion. I find this works really, really well on a lot of my architecture photography, but it's not working so good in here. I'm gonna go back to tone mapping, and I'm going to come back up to the default and let it process again and kind of get an idea of how I can make this particular image work. So I'm going to come back in here. I'm gonna go back on the strength because that's a lot that has a lot to do with what creates a real grungy or that black sort of surface on there color saturation. You got to be so careful that you don't over saturate, so I'm even backing off on that just a little bit. And tone compression controls the brightness of the shadows and overall luminosity of the image. I always do these extreme pushes to see just exactly what happens. So it defaults set at zero. I'm going to go down and darken it just a little bit more, and the detail contrast controls really the amount of detail that's in the image and going this direction. Add some contrast and going this direction lessens the contrast, so it was set at zero, so I'm gonna back off because I liked how it brightened up the image of fair amount. So, you know, this is not looking bad. I could be pretty happy with this. Lighting adjustments, effects. Really, as it says at the bottom, the overall look between natural and surreal. So here is one direction. Here is the surreal direction and its default in the middle. So I prefer riel because it's for real estate photography. I'm pretty happy with what I've got right here, but I continue to convey, really. Slide these things back and forth until I get a good taste. Smoothing highlights anything that's blowing out. It can law oftentimes and bring it back into having detail. But if you go too far, it makes things gray. That's extreme contrast there, as you saw in the window, and they're staying a little bit grayer here, so I'm gonna bump it up because I don't want Grey. I wanted to be a little bit white, and that's probably a perfect point. Then, of course, the white point sets ah, maximum value of your white, and if you go left, that's again at the bottom here it increases the maximum value, so let's see what happens okay. It really did subdued the whites. But if you look at the history Graham so but was clipping. So it brought it off the wall, so to speak. Now it's back on the wall. So some of this is clipping a little bit. And you know, I don't really have a problem with that. I'm going to add a little bit more white to kind of keep this area over here closer to white and Black Point is the same thing. Let's go all the way to the right and it really dark in the image. We'll leave it to the left. So I think generally speaking, this is a good processed image based on looking for a natural look. So what I'm going to do now is I'm gonna click, apply, and it's gonna process it. The thing I need to mention again is that you have to practice with this program and get a good feel as to what it's going to dio. And it does take some practice for sure, and every single scene that you do is going to require a different approach. So just keep that in mind. There is no perfect settings for anything. I'll use something different every time. And that's what makes learning to see so important to getting good exposures. So, uh, I'm going to start here with the highlights. You can now adjust your contrast. So I'm pretty much doing the same thing that I did in the total processing. Just moving the sliders, trying to see how close I can get to the perfect image coming right out of this program. Okay, I like the brightness level here, but I'm blowing out the windows a little bit, so I want to be careful with that, so I'm probably not going to go up too much now. The darks could use a little bit of help is well, but they are only gonna get darker. And I don't really want that. So I'm gonna leave it right here. And so I'm done with that image. Now I'm going to save it, and it's gonna take a second to do that. Okay, It's been saved. So I'm gonna close this program down, and I'm gonna come in here, and there it is, right there has been saved. I'm gonna open it up in photo shop, starting with the adobe camera. raw, All right? It's looking fairly good. It still has some blown out. Do I need to worry about that? I'm gonna come down on the highlights just a little bit and see what I can recover a little just to maintain some of that detail. These this area over here, I'd like to be a little bit brighter, so I'm going to go up on that a little bit. I'm also gonna go up on the overall seen exposure. Now what? You'll notice If you look at the history, Graeme, there's no black point. I have the highlight indicator in the black indicator on so at zero, to see where I can force it to start losing detail and where it's losing the course is right here, and that's not a big deal. It's not detail in there that I'm really concerned about. So I'm or interested in just adding some contrast and keeping everything in line for the most part. So I'm fairly happy I'm going to give it a little bit more of a bump. Let's go extreme. See what we get, okay? Really oversaturated. But she's bump up some contrast here a little bit. Okay, I'm gonna turn off the highlight indicator and the shadow indicator just to get a peek at what we're doing here. So okay, not too bad again. If this was full windows like this, I would want more detail in here. But I'm not that concerned about it, so I think it's looking pretty good. I might also sometimes look at vibrance to see what I'm getting with that, but, you know, this seems pretty colorful. So anyway, I am pretty happy with that right there. So the point is you got to do it visually. You've got That's not the image. That's the bad HDR, as I call it. Okay, so we've got it opened in photo shop now, and it looks pretty good. The angles air actually straight because of the way that I did the camera. It appears to have a full dynamic range based on the history Graham here, a little bit of clipping outside, and I could deal with that. Now I want to look at it again and just see if I want still bump up a little bit more contrast. So coming down here to a curves adjustment layer and one of the things I do is come in here and just automatically apply a moderate contrast. And it's not too bad. It's Let's look at the history Graham again. It branched out a little bit. Mawr raised it up a little bit. I'm going to lessen the darker part and let's go back and toggle that on and off and see how it looks. Okay, I definitely like the bump up in contrast, So I'm gonna leave that adjustment layer on there as it is. I think it's saturated a little bit too much when I did that. So we're just gonna take a look here, hue saturation and come down off the saturation just a little. Well, that's too much. Come off the saturation a little bit and see what we can get here. I think it definitely, uh, became a little oversaturated when I add the curves adjustment layer. So yeah, I like that better. So there we go. I'm stopping with that image right there. Okay. Hang on. We're gonna do hdr on another set of images 12. Processing HDR Images #2: Okay, We're now at part two of processing in HDR. So I have bridge open here, and I want to show you a series of bracketed images that I shot for home builder. As you can see here, this looks like a pretty normal exposure for the room. And it happens to be my brightest exposure. As you can see, when you look at this image and you come up here, there's a tremendous amount of flair going on. If you look at the brick here flaring around the curtains flaring hot spot, that sort of thing, that flaring is very difficult to get rid of in processing When, when you're processing in HDR. In fact, there's some techniques that air covered later in the course on how to deal with that. But what happens is photo Mannix or any HDR processing is not going to get rid of that flaring. It's gonna blend it in with other exposures that have less flaring, like, you know, some of these here, but of course this is severely under exposed. This is an exposure for the windows, as is this one over here, and so that's a problem. So what's your option Well, if you shoot this shot with windows again, you're gonna have the flare problem. Your option is to pick an angle that doesn't have these big windows in it. Then you can avoid the flare. And that's exactly what I did with this image. The windows air now to my right and behind me, and I'm not facing any windows. This would HD are much better than the other image, but I'm still going to show you how to do the other image. But getting but think about that when you're out there. Shooting is HDR is a great tool for working really, really quickly. But watch the windows to avoid the flare. Okay, so we're back to this image here. Now again, this is my brightest exposure because it gives me the shadow detail that I need. Then it gets darker and darker, darker, darker, darker, darker. This is the darkest image, and it's on Lee here for the detail in the lights, in the detail out the windows. But when I look at this image, there's still some good detail out the windows and still some good detail in the ceiling lights and so on. So you may not necessarily have to go this stop. So what we're at here is 3.2 seconds. 1.6 point eight of a 2nd 1/4 of a 2nd 10th 20th and 1/40. Each of these exposures was done in one stop increments over to stop increments. Because it's a more important job. I want more detail and I'm dealing with windows and stuff, so I want as much information as I can give the program toe work with. So I'm gonna go ahead and open up these seven images in photo Matics. I went ahead and ran through the usual processing steps, as I indicated in the first video. And this is what photo Matics produced as the default image. Or I should say, default settings. And I'm thinking that is not too bad. That gives me something definitely to work with. First of all, the hissed, a gram looks pretty good down here. The black point. This set nicely. The highlight area does show some clipping, and most likely it's up here in these lights lights themselves. But there's actually detailed there because you can see the bulb inside of the fixture. But what I want to do is what it needs. Is this data in the middle of the history? Ram needs to move a little closer to the center to brighten the image up just a little bit more. Now, I talked about flaring. If you get in here and you look there iss some flaring going on in the around the brick and areas in here and that's difficult to get away with. The idea is not to get it in the first place. And what you're gonna find later in this course is that I use a different technique when it comes to these types of scenes with windows and flaring. The HDR just is not as perfect as I would like it to be. And, ah, most importantly, this was shot for the homebuilder. So believability and reality is extremely important in making the image look really good. So again, I'm pretty happy with how this was processed. I could go in here and start looking at some of the other defaults. But just when I look at him, they're all really, really dark in here. And that is because most of the images in my batch were very dark images in my seven exposures were dark, so I end up with a dark image. And so I come down and I could look through here and see what else I like, and I just don't see anything in these presets. So I'm gonna come over here and see if I can brighten the image up a little bit, trying a couple different things, not seeing a lot of difference. And of course, I'm going very, very extreme, so to speak, big moves that I can then fine tune later. Now that's not too bad. That added a lot of contrast. Or, I should say, added some contrast and kind of bump things up and looks kind of good. I might leave that right there like that and let's see tone compression. I'm going to adjust that a little bit. It's minus 2.3. See what I get. Go a little bit brighter. Here we go. Now we're starting to get into a little bit better looking exposure for the overall room, so that's not too bad. In fact, I could say that I would be quite happy with that. A few things were happening here like this little dark spot. I could fix that later, but as you can see, when we were looking at the's seven Images to try to maintain that outside detail, getting a lot of flaring and so on, which is showing up right here just a little bit then that's one of the results of going with so many exposures of which more than half of very under exposed. But I think this looks pretty good. I just played around with things a little bit, and it came back looking, looking pretty good. Now, exposure fusion is supposed to be one way that really is effective for interior photography . So let's see. What if we could make anything happen with this? And as I've already said, this is a ah great big experiment without a doubt brighten up the mid tones. Well, we're almost back where we were before I switch to exposure fusion and again, as I've stated before, there are so many different ways to use this program to get what you want to get, and you just have to keep experimenting until you find which settings work for a specific image. So what I've decided is I'm going to go ahead and save this image. And I'm going to do my final adjustments in photo shop rather than right here, cause I prefer the adjustment layer process. So okay, so here is the HDR image using those seven frames. It's not bad, but it needs a bunch of work, and there are probably a few things that can be done here to help improve the image. But here's number one problem. See this flare. See all this ghosting? It's de saturated. As I mentioned to get the proper window exposure, I severely under exposed. But to get the good exposure here, the windows air so overexposed that they blow out. Now you could close the curtains, and that's one way to deal with it. But how can you come up with a couple ways to save this image? So one of the first things I did is I added a curves adjustment layer right here, and it is using again the medium contrast setting, and I find Tune a little bit not to darken the image too much, which basically means keep the center of it pretty much keep the curve right here pretty much in the center, and then you're just adding contrast, but you keeping pretty much you're saying brightness level. So look at this on and off. See how it got rid of some of that foggy lens look is a better way to describe it. Then I went in and I added another curves adjustment layer, and, uh, in this case, I added the same medium contrast. But I added a black mask and went in and brush that over to try to add a little bit of contrast and minimize it. So if you look at it, that did get rid of some of the flare by just adding some contrast. So let's look at how to do that. So I'm gonna add a curves adjustment layer and medium contrast. Then I click on the mask, inverted to black. I blow it up bigger, go to the brush tool, have the brush, said it 99% with white to basically reveal the contrast that that actual layer has. So I'm brushing, in contrast, at full capacity to try to see if I can minimize some of that flaring. So let's go back down, take a peek that helped. So that's one way to deal with it. It's not perfect by any means, but it is a way to sort of save the image. So I also wanted to look for another way that I might be able to process this image and sort of get rid of the flare. Now, as you know, the darker your exposures, the less the flare, the flare comes from the over exposure, as we're seeing right here, and that over exposure comes from trying to get the detail in the foreground here, and there's the flare right there. But when you go here, you don't have any flare because you've under exposed dramatically. So I kind of looking through the other files here from bracketing exposures, and I come up with this image that has a tiny little bit of flair and this image also. Now it's really minimal here, for the most part. So this image here is one stop less exposure than the image I chose as my base image, which was right in here and or close to it. So I'm gonna go ahead and open this image up and the goal. Really. Mr tryto add contrast to the image and remove sort of this flare right here. So what? I ended up doing Waas for the most part, a bit of experimentation, and I came up with these settings here. And as you can see, there's a lot of contrast added. I'm getting a lot of clipping, so let's explore what we did here. I increase the exposure. I increase the contrast. I went all the way down on the highlights, which should be this area out here. Those have actually begun become gray. I increased the shadows to keep this from going too dark went down with my whites all the way again. That would be this area over in here, and I pushed the blacks to be darker and again, adding to the contrast and so on. So this is not bad if you blow it up and look at it. The flare ISS still sorted there, but it's really looking Mawr like it's just a brighter exposure here than it is a brighter exposure here. This took a little bit of experimenting and a little bit of time to get in here and keep moving sliders with the goal of just getting rid of that glow. So I went ahead and open the image and it's here. So what I'm going to do is my usual dragon drop, so to speak. The move tool. Hold down the shift key. Drop it right on top of this layer stack here. Okay, so it's on here now, and I have gone in and done some work here, but I'm going to show you what I did pretty much saved this HDR image. Okay, First thing I did when you look at this, the flair that is coming through these windows is flaring the lens overall. So there's the curves adjustment layer to sort of add the contrast we we just showed talked about that. And so Nan. Then I added that contrast the image which is right here. Let's blow it up. Look, there's still some brightness and some flair there, but it's not too bad. Okay, so what ended up doing was then going in and brushing on the mask in greater amounts and lesser amounts. Say we have flare over the windows, We have it over here, and we have it in here more than anywhere else. So this was all very carefully brushed in for the most part, and then coming in and adding a little bit more of a curves adjustment layer, which I was just really to kind of dark in it. But this time, if you look right here, it's set to multiply. If you turn off, the mask, multiply darkens the image. I've been told about one stop, so I said it to multiply, which darkened the image. Then I add the mask and I brush in just the areas that need to be brushed in and you turned the mask off. You can see it, so turn that on and off and you can see there's just enough contrast and darkness added to sort of get rid of the flare. So let's back up and take a look here and just see where we've gone. With this process, there is the HDR image from seven exposures of which the bad flare sort of fogging this like there's fog on the lens, so we got rid of that by adding some contrast. And then I went in with the darker layer that has a lot more contrast added and sort of brush that over the top to minimize the flare on the fireplace. And then I finished by darkening it a little bit more. And this is the final image, and I think this is gonna work pretty good. So this pretty much saved this HDR image, in my opinion, by using some techniques to sort of minimize the lens flare that we were getting from those overexposed windows. But look how much work it required to save it all in the name of using HDR to actually save time. We didn't really save much time, so you can go in and light the room and get a much better result. Here's the final image I gave to the client. There's some additional lighting, no flaring. All the windows were pasted in using photo shop, and that technique comes up. So I guess my point here when it comes to processing HDR is it's a really good software tool for interior photography like you're shooting for real estate and you don't have time to do sophisticated lighting and Photoshopped compositing and stuff like that. My recommendation is stay away from the windows full blown like this. It's okay if it's a sliver of a window, as we saw in version number one, but I think for the most part. Try to stay away from big windows that are gonna flare in dark rooms where you need to maintain detail back here. Otherwise, you're just gonna end up with problems like this flaring. So this is the goal is to get much more interesting lighting and contrast and texture in your seen adding shape to it. So there you go. That's a tutorial on using HDR and, as I mentioned, go in, get on YouTube and look at various ways that people are using that software to create high , dynamic range images that have all the detail and help you basically save time in your processing workflow. 13. Burning and Dodge Technques: hi and welcome back. I want to talk briefly about something you've probably already done, as most photographers are pretty familiar with it. But I want to show you how I apply it to certain subjects when I want to affect a little bit of change from a straight photograph to something just a little bit enhanced a little bit more. And it's back to what I talk about all the time, which is how to pay attention to the details of things and make your photographs look a little bit better than they could be, with just some basic adjustments and so on. So in this case, it's a very simple technique called burning dodge or in digital photography. Most people like to call it lighten and darken out rather than burn and dodge, which was from the old dark room dates. So basically, if you ever spent time in the dark room making black and white prints, you most likely did some burning and dodging on your prints. And photo shop has many ways to burn and dodge, but in my opinion, this technique works best because it's non destructive on pixels. So if you change your mind you can always go and start over by just deleting that layer that you had your burning dodge effects on. So basically what I do is I used the lasso tool and I go in and carefully select the dark areas and in this case, around these beams. Now, if you look at this shot, this is a fine photograph just the way it is. But it's there's a little bit of architecture going on here, and you can notice that under the ease with rough here is quite dark eyed. Simply just want to go in and lighten it up a little bit. And as such make it look just a little bit better. Because a lot of times when clients are looking at your photographs, you know, and you're waiting for their approval, it's based on how well they get an impression of the overall photograph. Not so much specifics, even though they may go in and say, that's a little bit dark. Can you change that? And of course I will. But I like to preempt that possibility and do it at a time. So now, as I just mentioned in the case of the technique, I'm going to use here. I go in and I make a selection with the polygonal lasso tool of just the dark areas and attach those to a curves adjustment layer to basically go in and brighten it up. So here we are in Photoshop, and I have already done the burning and dodging here, but I'm going to show you how I would do it. I would go in here with the polygonal lasso tool. First, I would blow it up bigger so that I can really see in here Well, and I'd select the Polygon, alas, all too. And I would just go in around the beams that air the darkest or I should say, inside the beams that are the darkest such as this, and I complete that selection. Then I hold down the shift key and I go over and I do. The next area shift means you're allowing see the little plus sign next to the symbol there that tells you that you are ah, adding to your selection. So I go in, make a complete selection, still holding down the shift key, come over and do this a little bit. So as you can see you got the marching ants, as they are most famously known for. And I would do the same thing for these, But as I go back and I look at the overall photograph, I'm thinking that I didn't select this area. And that is just a Zim Porton. So I'm going to expand my selection, holding down the shift key, coming up here and coming all the way to the bottom over here. I am going to stop right there and then go all the way down and back up here. Now you can see what just happened here, so I don't really want that whole thing. So I'm going to back off and hold down the old key, which see the minus sign by the by the, uh, selection point there. So I'm gonna go back in here and basically do this, and I'll have to split this up a little bit lined up right on the edge. Come over to right here. Come down, go Here and here. So I basically de selected these two areas. Now I'm gonna go and hold down the, uh, all key again, and I'm going to de select this part of the beam. And while we're here, go up this way. Now, see, I'm entering some dark area here, so have to be very careful about how I d select so that I don't get any burning and dodging lines, and that's pretty easy to fix. And I'll show you how coming down, connecting. Okay, so you get the idea here, So I'm going to stop right there, and I'm going to go ahead and de select all of this. And the reason is that I've already created the mask. So there's the final picture to some degree, and as you can see, it's gonna need a little bit of cleanup, and that's okay. We're going to do that. So here's the mask as it sits now, and you can see what I selected and what I d selected Now again, it's not quite perfect because there are some edges here that need to be cleaned up, so I'll show you how I do that looks wrong. Direction. Come in here and set black is my foreground color and the brush tool. Make the brush to it really, really small, and I also want a harder edge on the brush tool. So I'm gonna go up to about at 40% here. All right, then I'm gonna come in here, See, I'm cleaning up the edge there a little bit, and I'm continuing that. So I'll go around and do the same thing. And there's a little spill over here to that little black lines. So changed the foreground color, toe white, and then come in here and do the same thing on the right side. Pretty much you get the idea. I hope that this, of course, needs some cleanup. But you all you do it all on the mask right here. And then finally, I'll show you the mask one more time. There it is and kind of gives you an idea of how to go in there and lighten and darken it. So now let's look at the curves real quick. Just to get an idea of what I did. I didn't bend the curve. Instead, I set the blending mode right here to screen, and that basically lightens your image by about plus one. So that's what I did. I didn't really need to bend the curve. I just needed to set the blending mode to screen and you can see it brighten it up nicely and it looks a lot better. So just a burn and dodge technique again. I'm expeditious in creating my mask, but I would go back in and clean up those edges and brightened everything up a little bit better. The edge is a lot more effectively. So anyway, let's move onto the next one hair. So the next photo here is from the same resort and actually the same building. But they wanted a pool shot at night, and as such, I basically went in and did some or burning and dodging here. Now I bracket. My exposures already said that 1000 times in this class, maybe more. And ah, so here is a plus one exposure. This has got some good brightness in the building, but overall, it's kind of washed out. So I created a mask, and then I went in with the paintbrush, the brush tool and white, and I basically just did a really, uh, soft over. I didn't mask. Basically, I just went in and brightened up the whole building front. So let's talk about that on enough so you could see what I did. I really brightened up those buildings a lot more. The reason I was even on this assignment was there selling these condos at a mountain resort, and they wanted to show all the features which included rooms. And we did some shots of people hiking and stuff like that. So again, I wanted to clean this up and make it look look a lot better. So anyway, that was a very simple dodge technique. And again, ah used a brighter image and then blended in, too, basically light in the front of building. Okay, I added a curves layer. Let's let me show you what the curves is just to darken it down a little bit more. Then I added a hue saturation. So I'm talking that on enough. It's just kind of bumps the color up a little bit more because Hue saturation is one of those you gotta be really careful with. OK, then I compact and all the layers in tow one or I should say, have flattened all the layers in tow. One layer when you hold down the control shift and all key and then hit the letter E. It combines these four layers here in tow one layer. Okay, so what I did here, I decided to clean up the water because some people have been swimming. Right before we got there, it was cold out so that water wasn't gonna drive for a while. So I decided to go in and clean it up. So what I did in this case, I'll back off here, and I went into the patch tool and basically make a rough selection. Whips. Let me start over here, make a rough selection around this big splash here. That's a really rough selection. And what I'm going to do for the sake of this demonstration is I'm gonna create a new layer fault shift control E. Okay, now I have a new layer. See, I can turn all these off, and I still see my image. I went into the patch tool for what I call my initial selection of just this first water stain, and then I just drag it over here, Okay? Not perfect, but it worked. Controlled D makes the selection go away. Then I used the spot healing brush, and I come in here and I do this. That's easier than saving the line. So to speak. Then I also went back into Ah, the patch tool. And I made a selection around this area very, very carefully, so not to get rid of the launch lawn chair. Bring it over. That's pretty good. But it did. It did bleed a little bit. See this little part right here? That is from the chair. So I go into the clone stamp tool, and I just select some concrete over here. Hold down the altar. Option key. Click. Come back over. Clean it up. Okay. Make another selection. Come along here and try to brighten up the edge of the concrete a little bit, another selection so that I could go down here a little further and another selection to come in and try to clean this up a little bit. I didn't worry about this too much over here. Now I would blow it up a lot bigger to make sure that I got clean edges. See, there's a little boo boo right there. So let's go back to the clone stamp. I'm gonna make it even smaller, select some of the concrete right in front of it, and then just come up and blend that in? All right, See, I duplicated something here, Control Z, that's probably part of the chair that got cloned down there. So I'm gonna control, and I'm gonna get rid of that. So in the end, you can see that you can go in and clean concrete up. Now that I'm stopping early, I'd get rid of that. I'd make sure this was a really good edge on the chair. Then, on my final picture, I came over here and I did the same thing over here. And for the most part, you can see that. Ah, how well it cleans up and it takes a little bit of effort and maybe trying it and then deleting it, going back and doing some, or to get it just right. But I felt especially that big stain that was right here was a problem. So So anyway, there's the light and dark and technique in Photoshop couple applications on how I would use it and how I would clean things up. So anyway, let's move on to the next video 14. Replacing a Blown out Building Sign: what I'm going to show you now is a very simple way to replace signs that have blown out. When you photographed him as this sign right here. This photograph was taken at sunrise to get the nice pink and purple sky in the background and to get the neon lights stall show up. But the proper exposure for the background resulted in a blown out sign. So I locked down my tripod and I take this picture. And then when I'm done, I bracket my shutter speed only so that I can get a nice, perfectly exposed sign. As you see right here. Now, I've opened him up in photo shop, and the very first thing I'm going to do is drag this image on top of this image and stack them over here in the layer stack. But first you select the move tool right here. If you just drag it over, it doesn't line up. But if you hold down the shift key, it lines the image up perfectly on top of your base image. You want to make sure, of course, that your tripods locked down and nothing got moved, or days will be out of alignment and you will have to align them manually. And that's not much fun. The next thing is, I'm gonna blow this up big so that I can work right with the sign specifically. And I'm going to select my background copy that has the bright, washed out sign. It'll be easier to select than this darker sign. I'm going to then use the magic wand and just click in here. And that did a pretty good jump, but not perfect. So if I hold down the shift key, you can see the little plus sign next to the Magic one that adds to the selection. And now I have a perfect selection inside the dark borders of the sign. The next thing I want to do is go after select modify feather. And the reason that you feather your selections is because it blurs the edge. So it doesn't look like what I would call cut out with scissors and paste it on. Rather, the soft edge blends the two layers together and makes for a more realistic compositing job . So three pixels is my preferred amount of radius here for this feathered selection. Okay, The next thing I'm going to dio turn back on the upper layer and also select the upper layer. Now watch what happens when I click here to add a mask. The mask will make a mask with the exception of what I have selected. Check that out. OK, you can see the mask and I'll go ahead and show that to you. It made a mask and you can see the soft, blurry feathered edges from feathering it, and it selected it perfectly. So now it's hiding everything except for the sign. And there is your new shot before and after very simple way to replace lots of different things, like signs or things that are blown out, so have fun with it. 15. Fixing Window Reflections: Okay, We're gonna take a look here at how to get rid of reflections in windows. Ah, in the olden days, or as I've been discussing earlier in this class, you should have a goal of trying to keep your lights from reflecting in the glass. However, that's not as much of a problem anymore with the digital revolution and particularly our best friend, Photoshopped. As you can see, I have two umbrellas reflecting in the glass, and it's not a problem to eliminate that. What I've done here is a basically let this entire scene with all my lights determined the best outside exposure, which I believe is plus one over the inside exposure, and my client has approved it. So we're done shooting for the most part of shot in a series of these as well at various shutter speeds as well for darker and lighter windows, just to see if we client likes one that might be a little brighter or a little darker. Then I turn off all the lights without moving the camera. I go back in and I shoot a Siris of just window exposures at the same shutter speeds that I used in the lit exposures here. You can see there's no reflection in the glass. The next thing we're gonna do is we're gonna put these two images together. So I'm gonna move up here and I'm going to select the move tool. As I hold down the shift key, I can drag this image and it will land right on top of that other image in perfect registration here, you can see as I toggle back and forth between the two. Okay, The next step is we're going to come up to layer pallet, and I'm gonna select layer, mask and hide all. And as you can see right over here that added a layer mask and filled it with black. That's now hiding the good windows. The next step is to eliminate the reflection. So I'm gonna blow this up a little bit bigger, a little bit low resolution, so it's kind of kind of a little spotty there, but I'm gonna go in with the polygonal lasso tool and I'm going to make straight lines in, in a sense, making a box now by holding down the shift key, I can add this part of the reflection to the same selection. Okay, I now having selected Okay, the next step is come over here and select the brush tool. My foreground is set toe white, which is what I want because I'm going to be painting on this black mask. I've set my opacity to 100% but at 13% flow, so it goes slowly and then I just paint white on that mask and what is happening here years I am allowing this layer of the perfect windows to shine through onto the background layer on Lee within this selection. So I'm gonna come up in de select. And as you can see, that's a pretty darn good match. You might need to do a little bit of fine tuning, but that's it. That's how you can get in and replace a reflection. As long as you've got a background exposure of just the windows, that is the exact same exposure as your interior exposure. You are all set 16. Replacing Windows with Masks: But this is the living room of a custom built home that I photographed, and we've pretty much done all our lighting and used the ambient window light toe like the room up quite nicely. But now it's time to apply the darker windows to make it look a lot nicer and complete the photograph. I'm going to replace this window right here. Not these. Just for the sake of this tutorial, I would go in and normally replace both of those. But I'll show you the final photograph when we're done. So the first thing is, we bring up our darker window exposure right here. And this was of course, done with all the lights out and bracketed and selecting the move tool and holding down the shift key. I drag this layer on to the base exposure and they register and perfect registration. So as you can see how toggle back and forth and it appears that it's perfectly lined up okay, our next step is to go down here to the add layer mask icon and push that, and as you can see, it added a layer mask that we need to fill it with black over here. Our foreground color is black. So? So by holding down the option or Ault key and hitting backspace, it fills it. It's now filled with black and it's hiding this layer. So our next step is to select the window to pace the darker one into. And we're gonna blow this up big enough so that we can see it. And then I used the polygonal lasso tool. It's a great tool for this type of a selection because it draws great straight lines. So I'm starting out by just going down. And making a rough selection would be a little sloppy around the furniture here just because I could go in and fine tune that a little later Yea, and will go back up here, set a point right in there and complete the selection. Now, the next thing I'm gonna do is I'm going to subtract from this selection. So I hold down the option or Ault and subtract this particular frame. You don't want to do anything to it. So I'm getting rid of it going up and completing that selection. Okay, move over to the other window and then we'll do our fine tuning at the same time a little bit here. So selecting the top one and here we go. OK, I'm going to Ah, finish making these selections and be right back at you to show you what I come up with. Okay? As you can see, I've completed the selection of all the windows. It's a little bit sloppy, but the first thing I did is I went up to the drop down menu under select, and I saved the selection Is Windows that way? If I bumped something or I make it disappear, I can bring it back. Or even when I think I'm done and I'm really not. I could bring that selection back. So let's blow this up again and look a little closer at our edges and do a little bit more fine tuning. So here's the upper right window. Jing si, I'm way off. So I'm going back to the elliptical or I'm sorry, the polygonal lasso tool and holding down the shift key, setting a new point to come down here coming across and I'm OK on the top. So I'm just gonna go back and complete it right there. All right, so that filled that out now, As you can see, I've overdone it a little bit here, holding down the option or Ault, I'm going to set a point straight to the bottom right there. Come around and lying that up right there. Okay, so that's in the frame a little bit more. There's a little gap here, so once again, set the point shift keys down to add to the selection up around. There we go. And I think I should do it right here is well, so we'll set the point again. Come down and across back. There we go. OK, so that windows looking good. Let's move up here. All right. And again, I'm off quite a bit. So adding to the selection, setting a point in the corner, coming down till about where it looks like it's lined up perfectly at that point and we're looking down in the bottom. Okay, I've overdone it right here. So option Ault set about right there. Come down in, around. Back up. Okay, that's a little bit better. And let's see. Okay, I didn't want to do that, So escape on that. Okay, now lips control Z accidentally move this election now. Moving this up a little. I'm off here, so option Ault, click and let's click again. Come up to the top and set a point. Come back down. Said another point. OK, not bad. Okay, so I'm gonna pause right here with you guys. I'm gonna go ahead and ah, finish up this election and then show you what we'll do in quick mask mode. Have completed the selection of the windows as well as the fine tuning. If I blow in, blow up and look in at this a little bit, Mawr, you can pretty well see that everything is right on the edge where it needs to be as faras each of these window frames. So the last thing I do is it sort of go in and take a quick look at using quick mask by selecting the quick mass button right here just to kind of take a peek and make sure I don't see anything again. You can do a ah large 200% inspection of the edges with quick mask on and also paint mawr onto the mask or less onto the mass by using your background or foreground colors of white and black and a soft edged brush or hard edge actually works a little better if you're cleaning up fine edges. So I'm gonna go back to the selection. I've also saved the selection as the window. Now I'm gonna go back over here and select the mask, and the next step is to change the foreground color the white in a soft edge brush and big enough to be useful. And I'm going to use 100% flow and basically paint white onto that mask to bring that darker window through. And here it is, coming through quite nicely. Very nice. Now I could go in and select thes bottom windows and clean that up a little bit. Let's back off a little so you can kind of get an idea of the difference. Uh, before and after I've painted in that new window, I would do that on the rest of these windows as well, and ah, blend him in quite nicely. The other thing I failed to mention is when I have the quick mask mode on, I will feather that 2 to 3 pixels to soften it so it blends the window nicely, Then go back to the mask and paint in the window frame. So I'll bring up Thea a final picture here and just set. So here is the final picture, with both windows put in properly. And in addition, we used a lens correction tool to straighten the angles. We kind of lost that window over there in the process, but this gives you an idea of how simple it is really to replace Windows. 17. Retouching Lamps and Lights: where we're going to take a look at now is retouching, lamps and light fixtures. Um, here's an image that I took for a lodge, and, uh, when we went in and did our lighting, we placed a bunch of lights over here kind of out of the frame near these big bay windows to come in and create some texture on the fireplace as well as some of the furniture. And we had some fill lights kind of coming in and filling in the shadow side. But we did rely heavily on these lamp fixtures on the ceilings. They definitely contributed to the overall exposure of the scene. At the result of that is that these lamps or lights somewhat blowout become white hot. Now, I don't think this is that big of a problem for this image. I think you could get away with it, but it also depends on how large they're going to blow it up or enlarge it in any kind of publication they might be doing. So instead, um, what we're going to do is go in and paint in some darker lamp fixtures that we took in a separate shot. So what we did once we captured this image is Then we went and turned off all the lights and I probably stopped my shutter speed down. I am guessing three or four stops to get these fixtures with texture in them. You can see there's kind of a hot spot in the middle sort of gray dating out to a darker amber. So we're going to then paste this image on top of this image. The way you do that is you select the move tool, you hold down the shift key and you drag it over. Then it paste the image in perfect registration with the image below it. And here you can see all toggle back and forth, and those darker lights are in perfect registration with the base image. As long as I didn't move the camera, that should be exact. So the next thing we dio is we go in and create a layer mask so I would go up to drop down menu for layer, layer, mask hide. All that place is that black card, so to speak on top of this layer and thus hides it. The next thing going to do is I'm going to enlarge this image. So we're getting close and see what we're doing here. Okay? A little too close. Let's back off. It's make it just a little smaller. Okay, Now I'm gonna switch my foreground. Color is actually already at white, and I'm gonna select a soft edged brush, so I'm gonna use it as soft as I can get it. Keep it somewhat small, a little bit bigger than that. And I'm gonna put my opacity a 24% my flow at 13. And I'm just going to slowly pay white on top of that mask to try to bring through some of that darker Ah, lamp fixture from the other image. And you can see it's starting to build. So I keep a low opacity and in even lower flow so I could just slowly build it up and you can see the texture is starting to come through, and I just continue to pay build it up until I like what I see, starting to look pretty good. So let's just continue to build a little bit more, increased my opacity to 50% just to kind of speed it up here. You're gonna wanna work at whatever speed you want. Okay? So I will move over here to this one slowly, Just kind of build up the center area here and over to this one, continuing to paint white on that black mask to get that layer to show through on lee on the lamp fixtures. Okay, Good. In here. Do this one, and we'll do this one over here as well. Slowly painting in this one seems to be a little more burned out than the others. And I'm not sure why. That would be just coming through a little slower, continuing to paint white onto the mask. Okay, let's back off now and just see how that might look for the overall picture. Okay, you can clearly see the texture. What probably is a little bit bothersome is the white line around. Each fixture looks and moved up and go to a smaller brush. So back selecting the brush and I'm an increase. I'm sorry. Decrease the size of it in hopes that I could get out to the edges a little bit more and you can see right there I'm already building up the edge on this particular fixture will come up here and do this one just trying to bring some of the detail of the edges in for a little bit more believability on the lamp fixtures. Once we decrease the size or zoom back, we can really see what we want to see. Now, you can see I went out of the line there, so we'll fix that. Just a sec. Okay? That's looking pretty good as well. Get this one while I'm in here. Kind of making the, uh, actual chandelier bars kind of go a little dark. So what I'm gonna do is I'm going to go back to black is my foreground color, reduce my size, even mawr, and go back in and paint some black back on that mask to make this part. Not quite so obvious, really. It's gonna be so small by the time the pictures reduced in size. But you just never know if they're going to make a full page in a brochure for the for the lodge. Then I don't want that to show. Okay, I'm coming back over here where it kind of went outside the lines and painting black back on the mask and very subtly reducing the impact of that numb in a lower mile. Pass it down to about 20%. The reason is I'm going to go back in in these little dark areas and just lighten him up. Just a hair. So they're not quite standing out so much. They are part of the lamp and the edge, but I don't want it to be too prominent when it all blend nicely. So that's looking pretty good. So let's back off again. See how that looks much better. Okay, I would stop right there. I think my client would be quite happy with the amount of texture that they're seeing in the lights without him blowing out and looking like this down here. So that's it. That's basically how you retouch a lamp. Same thing if you were shooting in, Ah, say a bedroom in the lodge and you had some lamp sitting on the night stand and you want to bring their texture back down so they're not white hot and blown out. That's how you do it. Just shoot a darker exposure using a mask to composite photo shop. Have fun 18. Selective Color Adjustments: I had an assignment to photograph a lot of corporate interiors for a company that designs interiors of office spaces. In other words, all these cubicles and shelving and shares they design with their clients to create these environment. So I was asked to come in and photograph, and we did do some lighting here. But when you're shooting this type of environment, you do have to basically add supplemental lighting to the existing ambient light from the ceiling. It's the brightest light, so you might as well use that as your key light source and then add some supplemental lighting for brightening and darkening different areas. I had a large light box right out of the frame to the right here to lighten this area up here and make it the same tonal value is this? I had another light right behind this wall aimed with a grid on this wall to try to make this the same tone as this. And then the third light that I had was a light underneath the table on a floor stand to kind of create the detail in here. This was pitch black in here without it. So I put it in there kind of aimed it at the back wall. Here, let it bounce around in there to sort of Brighton it all up and then another umbrella right over here to kind of keep this from going too dark in here. This is not exactly the same tone. Is this in here? But we can certainly lightened that up if the client wanted me to do that. So we took the picture, and the first thing I didn't photo shop is I straightened it out because I was pointing the camera down. I had, of course, diverging angles and lines. So I straighten it out. Now I'm coming in here to basically to deal with the color. And this is what I want to show you eyes how to deal with the color. So, as you can see, there is a little bit of kind of a yellow green cast to the overall scene, and then get some blue here and some really green over here. So the first thing I'm going to do is come in and add an adjustment layer. Okay, so I'm bringing in the curves adjustment layer, and I'm going to select this middle tool here to go in and select a fairly neutral point to set the color balance. So if I click on this railing here, it went way blue. And that's not how the scene looked. What about over here? Well, no, see, this is brown. That's not gray. This is fairly gray, but it's biased because it's sitting under it. Tungsten colored light. So that's no good. Let's try this shadow area right here. Ah, maybe that's it. Let's back up and take a look. That looks fairly neutral. Looks like it might be a little bit blue. So I'm gonna blow it up again a little bit bigger and see if I can find Tune that There we go. That brought the blue down. You saw that move over here. Let's look at him again. Okay. See, lots of blue less blue If I click down in here and that looks more neutral to me So let's back up and look again. Still a little bit too blue. So I'm just gonna grab go to the Blue Channel hair and I'm going to pull the blue back in just a little bit more. And I'm starting to see a little magenta, So I'm gonna give it a little bit more green, See what that does. In fact, maybe it doesn't need an adjustment on Green. So drug that point off, that looks pretty darn good to me. OK, what I want to deal with now is these color shifts back here, so I am basically done with this particular, um, layer at the moment. Okay, so the next thing I'm going to do is I'm going toe flatten my, um, image combining the curves layer with the background layer. I usually save him before I do that layer flatten image. Okay, The next thing I want to do is I got green back here and I got kind of blue here, and this is a little bit pink right here. So what I'm going to do next is add another, um, empty layer here, and I'm gonna take the color sampling tool right here, and I'm gonna sample it. This appears to me to be the most neutral part of the background, so I'm going to sample that right there. And as you can see, that's my new foreground color. It's a very, very subtle, pastel, pinkish looking color. I'm gonna go up to edit Phil, and I'm going to fill that empty layer with that foreground color. Okay, The next thing is, I changed the blending mode to color. Then I add a layer mask and I go up to layer. I'm sorry. It it, Phil, and I'm going to fill it with black that's now hiding that pinkish color. I then checked to make sure white it's my foreground color, and I grabbed the brush tool. And what I'm going to be doing is I'm now going to be painting white on this mass to reveal this color through in a very weak amount. But all I'm really doing is changing the color. I'm not lightning darkening or doing anything like that out of you is the opacity, which I'm going to do at about 15%. So I'll go up here and adjust that. Okay, here we go. I'm just gonna start Peten white on the background on these colored areas back here. And basically what I'm doing is I am bringing in that sort of pink color on top of these other colors to neutralize them some. Okay, so let's see here. Now we're getting close here. All right, A little more blue still showing here. Okay, Now let's turn this on and off. You can see that corrected the color or I should say, change the color pretty good. So I'm gonna leave that right there for the moment. I think I'm pretty happy with the color change that's happening and maybe a little bit more here. And then I'm going to switch back to Black, and I'm gonna go in and repaint over the windows here because they they lost their bluish outside tint, some bringing that back. I don't want to lose too much of the believability here. Okay, now, all right. So the next step is I'm gonna go layer and flatten again, and then I'm going to basically duplicate this layer, and I'm gonna come back in and add a curves adjustment layer. If I can find my curves here, let's see, Let's do it again. Curves adjustment. There we go. Bring that in and I'm gonna use the eyedropper tool again. I'm gonna go back and neutralize the color back here so that I could get a good gray and see what happens. It gets kind of wackos. You've got to do a little experimenting to come up with something that's actually fairly neutral in color. And that is not bad. What I'm going to do now is fill that mask with black. So Ed it, Phil Black. Now, I just hid that color there were neutral down in here. This is looking good, but I What I did is I basically adjusted the color with this curves layer. Now I'm going to switch to white to my foreground, color the brush again and back to about 10%. And I'm going to slowly pain end that newly corrected rear wall back here. Just a very subtle amounts. And that's looking mighty fine. Okay, the color. Very subtle, but it was a little bit yellowish pink. Now it's fairly neutral, so I'm happy with that. Okay? Last thing I want to do is I want to lighten this up a little bit, so I'm going to add on empty layer and I'm going to go to edit Phil with 50% gray this time . Then I'm going to set it toe overlay. This kind of combines the dark areas in the white areas, and it's a complex explanation, but it works pretty good. If you come down here, pick white and you got your brush tool. You are dodging or lightning. OK, See? Too bright right there. So are to Ah, too abrupt. So let's try it again. Okay. Very slowly. 10% opacity. And I'm just brightening this up back here just a little bit to make sure it looks riel. It's got a blend and look, even so, this is the side that had the biggest problem. Little darkness. There. Little darkness there. Okay, that still leaves some of the believability of the ceiling not being too perfect as far as brightness going to do. One more thing here, Brighton that up just a little bit there. Those areas right in there. Okay. So basically, what we've done is we've taken one image that had a slight off balance color in this area, and we neutralized pretty much the whole area that showed the background problems back here with different mixed lighting. So we went in and we selected those areas somewhat separately and balance them out for a much better color balance, and then lightened it with this final 50% gray layer. So there you go. That's how to go in and selectively change color in certain areas. Have fun with it. 19. Fixing Color: you can go online and look at photographers, websites, real estate websites, maybe some architects and homebuilders websites and find images that have color within the scene that hasn't been corrected. And while this might be acceptable for some clients, you have to decide the standards of quality that you're going to create. When you produce photography for architecture and real estate. You have to ask yourself how picking am I gonna be? Or maybe it's not really being picky. But how? How much quality am I going to add to my images by the amount of time that I put into each image? Color is a big issue as far as I'm concerned, and I color correct all my images as best I can. And if I'm shooting for real estate, I do it as fast as I can. And this technique here is pretty fast. So if you look over here, you've got pretty neutral. This appears to be gray. All of this up here appears to be gray. This is a little bit amber because it's a tungsten colored ceiling fixture that's creating that highlight right there, and that should be very amber. But when you have all this daylight coming into the room. It's sort of washes out the amber a little bit and makes it sort of neutralizes a little bit. But it does still give us a sense that that's a warm light coming from there. The issue I have here is this blue Wall, and this, of course, is daylight That's coming in from behind the camera here. And it's a little bit blue here, a little bit magenta as well. So how do you fix that and blend it all and make it look good? And really, it's a very simple technique. You start by coming down here to the bottom of the layers palette, the very bottom. You can see my cursor down here. Click on empty layer at an empty layer. There we go. There's the layer right there. I'm gonna call it color left. The reason I'm going to do that is I might need to do more than one color layer. And because colors change as daylight mixes with the other colored light sources, you come down. You said it to color. Okay, so it's set to color blending mode. Now I'm going to re select my background image. I'm a come over here to the color picker and I'm gonna go in here and try to decide where I feel. The color is the most neutral, and really, it's a little bluer here. It's a little warmer here, so maybe writing here's a good blend of both. So I'm gonna select. Click on that right there as you notice it changed my foreground color to that same color. That's right here. Now we go back and we re select the color layer, which has nothing in it. Select the brush tool, and what's gonna happen is I'm now going to brush on that empty layer, that color. I'm going to start with my opacity up here at about 30% just to do it slowly and come in and start blending. And I can already see a change right off the bat, so that's 30%. I lift up on my mouse, go back, do it again. Now that 60% and it looks pretty good. Let's see what happens if I go ahead and give it 90% opacity by three passes. After lifting the mouse up, you start another pass. Let's turn off this layer you can barely see the color here that I've added. Now, let's toggle it on up. Pay attention to this area right here. See the blue come and go. So that worked pretty well. This appears to me to be all neutral in here. Now you might see a problem, and there is one. It's right here. I turned the golden hardwood floors almost neutral, so I'm gonna blow that up a little bigger so you can see it. And you can see that what was nice and golden amber has been sort of subdued because the blue color I'm sorry. The neutral color that neutralize the wall neutralized the floor. That's not good. There's a couple things you can do. The easiest is to select the eraser tool. Come in here. Have it? Said it 100%. So you're getting right down to business and just run it right over the area in one big pass. And now you have solved that problem. So let's go back here. Take a look at the overall image again, and it looks pretty good. Now I see some blue magenta purple in here. Set the blending mode to color, re select the background copy and come in here and try to establish what color I should use . There's not anything I can select in here that is neutral all the neutrals over here. So my guess is, what I have said is the foreground color over here might be perfect, so let's give it a try. Select the brush tool set 30% and I'm going to come in and start doing it very slowly. That's two passes so that 60% and then another pass at 90%. So I've given it the full, the full amount of color correction. Let's just toggle it on and off. You can see that some of the that blue pink is gone, and it looks pretty neutral. Now have the same problem we had on the floor over there. Some of it has spilled onto the cabinet, so let's blow it up a little bigger. Toggle it on and off. Clearly, you can see that the golden warmth of the cabinet color is gone, so let's go back in. Grab the eraser. This time we got a finer edge, so let's add a little bit of hardness to it. Maybe even select that setting right there, and I don't want 100% hardness. So let's go about halfway and then going to come back in here with the eraser and very carefully go ride along the line and erase the neutralizing color tone that I applied by basically spilling over the lines. Okay, lets toggle it again. No difference in the Cabinet, but if you look at the wall, you can see how it's more neutralized. Got rid of some of the pink. Now let's go back in here with the brush and it's still got the same color set. Let's reduce the size of it and come in here and do under the Cabinet, and I'm a 30% again. So I keep lifting my mouse up and I apply another 30% until I'm at 100%. Just to make sure that I don't overdo it too quickly. There's some spillage right here. So I'm gonna grab the eraser again, come in making even smaller toe work in that tighter area. And there we go. OK, I just fix the color on these two walls to beam or neutral like the rest of it. So let's look here. Okay, blue wall over here gone, and the blue magenta here has been pretty neutralized. So that's how you do it with this image. Now let's look at one that's a lot more complex, and you'll see this image later in the course. This is an interior that I shot. And if you look here, you've got dark green walls. It's very hard to tell what is the perfect dark green color? Because as the light graduates across here, it gets warmer, as you can see from this tungsten chandelier. But it's very blue from the window light coming in. So that's due to shooting an auto white balance to try to get the best file between all the different colors. So let's take a look at what we built here. There's the strobe exposure. There is the curtain exposure lightening things up. Okay, now we're up here to the color, so the first thing I'm gonna dio is go in and use the exact same technique. But I had to guess where in here to sample the color from and I chose right up right up in here, so I selected that color there as the foreground cut or I'm sorry as the proper color for the green wall to eliminate the blue here. So I added an empty layer and let's go ahead and turn it off so you can see where I added all that green two over lap all that blue by just painting in these areas subduing the blue color. Okay, The next thing is look at the blue on the floor right here. Very, very blue from the window light coming in. So I did the same thing. Here is what the image looks like right there just working the floor. But all the same technique color on the floor, an empty layer set to color mode. And I neutralized the blue out of that. Okay, now we got the rug. Look how blue it ISS so went in and did exactly the same thing I'm gonna talk about on and off If you want to look at the carpet, you can see the blue is gone. I sampled from somewhere in here that didn't have the blue And I just brushed it over the carpet to make the carpet the same color. And finally, the last place is the blue on the ceiling up here. I came back in and I selected somewhere right in here because it's going to have some warmth from this tungsten fixture, and that's OK. We don't have to get rid of that. It's just let's try to neutralize the blue and make it look better. And I did exactly the same thing. Let's look at just that layer and you can see where I brushed in the color once again to do this image. I took the color picker tool here. I went in, and I selected somewhere in here that became the foreground color than I just brush that area to neutralize the color. So there you go. I hope that all makes sense. Neutralizing color will make your photographs stand out so much better, so much stronger and make your clients happy. It's really important to make the images look believable and not look like a Neopolitan interior with a wide range of color spilling across the interior. So have fun with it. 20. Replacing a Sky: Okay, This video here is going to take a look at how to replace a sky quickly. And as you can see here, I've got numerous images that I bracket because, as I have said numerous times, I bracket all my exposures far and white. This is a good exposure for the front of the house, but the skies to white. This guy's too dark. I'm trying to find something as far as the sky that will balance nicely with what you see here in the detail. So I'm probably going to pick, uh, this I'm gonna go with this sky right here. So first thing I'm gonna do is I'm gonna open up this image in adobe camera raw, and I'm going to do a couple things here. Would like to brighten the house just a little bit. So I'm going to click Auto, see where it goes. You'll notice that there's a blue cast cause this is a white fence. So I'm gonna come in here and pick Thea Ah, white balance tool and I'm going to come and click on the white fence and you'll see that it added a lot of warmth to the image and Quite frankly, I really like that, um, going to next go down and darken it. Just a little tiny bid because it is a dusk shot and it will help those windows pop out a little bit more. So that's about all I'm going to do. A lot of this other stuff I prefer to add in photo shop if I find that I need it. So I'm gonna open that up in Photoshop. And as you can see here, the image opened in photo shop, just fine. So the next thing is, I'm gonna go back down and I'm going to pick that sky. I'm gonna go with the Actually, I am going to go with this one. I change my mind. So I don't want to get it to dark and have it out of balance with the foreground. Now, I'm not gonna do anything on exposure here, because all I really want is that blue sky. So let's open that up. Okay, so now I have my sky image open and I have my house, so I'm going to click on this one, and what I'm gonna do is drag this image on top of the other image. So what we'll do here? We're gonna pull this down. I'm gonna go over here and select the move tool. I'm gonna hold down the shift key. And what happens when you hold down the shift key is the image will align pixel for pixel right on top of the other images. Long as the camera didn't move, they'll be in perfect registration. So here we go. Dragging that right on top and that looked like a good copy or pull over, I should say, Now we'll just double check see there in registration. This house is right on top of this house. So next thing is, we're going to go in here and we're going to select the sky. And the tools and Photoshopped have advanced so much. This is so quick and easy to use the quick selection tool, and I'm gonna come along and just drag it around the sky. I am gonna go down into here a little bit just to kind of get an initial selection that I can modify later. So all right, I have basically have selected the sky. Now I do know that it's going to take some refinement, so we're gonna go back to the magnifying glass and we're gonna blow it up big but not quite that big. And go around and check the edges of the rough and so on to make sure we got it all. As you can see, there's some areas that didn't quite grasp. So the first thing I'm gonna do is gonna come over here and I'm going to select the polygonal lasso tool. It draws a straight line from point to point, and I selected the sky in my initial approach. So what I'm going to do now is these areas here are not selected. So I'm going to go ahead and select those If I hold down the shift key, I'm adding to the selection. You see, the plush sign just showed up. If I hold down the alter the option, it's minus. I'm taking away from the selection, and both of those are very useful, and you'll use them both a lot. So I'm going to hold down the shift key, run a straight line along the roof edge, getting it just writes a little bit of a challenge. Let's try it again. Holding down the shift key. All right, There we go. Right outside. When you see the circle, you're ready to connect the two points. Come on, Connect. There we go. Ok, now I'm going to connect with this area right along the edge of the roof. Up here. I'm gonna go all the way to the top because you can see there's some bumpiness in the current selection looking for the circle. There it is. Okay. Over here. I'm going to move the image over and a little bit more so I can see where I'm working. Selecting Gonna go all the way down the roof line. Appear to make sure I get it all. Okay, Now, I have an area here that I don't want. That's a hard to see, but that is a vents on the top of the roof. So I'm gonna hold down this shift. I'm sorry. The cult or option key. Come in. Go around that and then de select that area looking for the circle Here. There it is. Okay. Same thing here. All tor option key to de select an area coming back around. There we go. I'm gonna straighten this out, so I'm holding this shift key again. One of the things to keep in mind is again, how big is your image going to be used? If it's on Lee gonna be on the Web? Some of these really fine details aren't going to matter that much. You know, it's not gonna be blown up big enough for you to really notice that you're missing some or you missed a few spots. The question becomes is, even though a client might ask you to be shooting ah, home, for example, for the Web. Then they decide to print off brochure or flyer or something that they're going going to take to say the home and garden show and hand them out. All of a sudden, they need a super clean, high reds image. And it's your job to have done that, really in the first place. And so you don't want him coming back going. Hey, we need you to reprocess this because you should have done in the first place. You'll get all kinds of requests that are not reasonable in photography for sure. So Okay, I'm just about done cleaning this up, coming in and making sure I got a good edge on the roof. So again. I'm cleaning up here. I need to add to this selection here to make it straight along the citing right there. Come all the way up, Match the circle. Okay. I got some area of rough here that I don't want selected as well as this skylight or I should really say events, not a skylight. So then look along the roof, and it's not bad. Here's some areas that are not selected. I need to go ahead and grab, and we're gonna do that. All right, check the roof line here. Usually does a pretty darn good job. Okay, now we've got some areas in here that are not selected. So what I'm going to dio is I'm going to do a using the polygonal lasso tool. Come in. You're right down here. Right over to there. And I've added to the selection. There's a little bit right there. Will do a quickie. Come in here another little quick Now, you know, in photo shopped there are a tremendous amount of selection tools available. So really find what works best for you Missed my target, but I'll get it right this time. So and looking for their ago There's the circle. Okay. Come back up. Match the zeros. Okay, Now, there's probably some other refinements I could do as in right here, that sort of thing. I don't necessarily want the darker sky or background to be going into here. What? I am going to dio years I'm going to come in. And this time I'm going to use the quick selection tool again in a negative capacity. So you come up here to the upper left corner, click on Negative, and then make your cursor just the right size. I'm going to drag it up to try to de select the sign here. And it worked, okay? Didn't work perfectly. So we're gonna go back to the polygonal, blow this up big first so we can see it. See what we're doing here. Polygon all add to the selection by coming in and doing a rough trip around here. Okay, Go all the way around tapping as I go. Toe set points. There we go. Ok, now there is a little bit mawr that can be done here. You clean up, but I'm going to show you what I do next. First, and that is come in here and set quick mask mode, which kind of allows me to go in and look at exactly what's selected and then kind of eliminate what I really don't want to have selected anymore. And at the moment, I'm OK with this down here cause I'm gonna show you what I'm doing here in a little bit. So Okay, Now the selection looks pretty good. I'm gonna turn off quick mass mode. I am gonna go up here to select, and I'm going to save that selection. So I don't have to go through that process again, and I just call it the sky Turn this layer on and the selection is still there. What I'm also going to do is I'm gonna modify the selection by feathering it just a little bit by about three pixels. And that creates kind of a soft edge that makes it look like you haven't cut it out with scissors and paste it. Now that I have this sky for the most part selected, I come down here and I click on layer mask and noticed that the sky the only thing that showing over here is the sky. There's a boo boo right there. But I'll show you how we're gonna fix that shortly. So the sky has been replaced. And the question you have to ask yourself now doesn't look believable. Well, it doesn't. So I'm going to click on that layer and I'm gonna go, and I'm going to reduce the opacity to something that looks a little bit more believable. And maybe about 80 right there. Okay, So the things that I see is an issue our first of all right here, the sky. So let's just show the mask holding down the option old key. Gonna go in with the eraser, or I'm sorry, a white brush will work just as good and pretty much get rid of that. Make it 100% opacity, and that will go away right away. Okay, so now we're gonna go in and take a look and just make sure the skies looking good and clean that I got a good roof line don't have any white ghosting edges along the roof, and it really looks great. Just shows you how miraculous the quick selection tool in photo shop is and how accurate it can be. So as I'm looking here about the only thing I don't like is how dark the backyard is here. I wanna lightened that up just a little bit. Here is the mask. The mass comes all the way down here and it basically is leaving, you know, kind of an abrupt edge here of darkness. That's it. Right there. So let's reduce that a little bit in opacity or in let's reduce the opacity of the mask. So what we're gonna do is select the brush, change the foreground color to black. I'm going to set a low opacity of about 30 so I can build slowly. And as you can see, it's already lightning that area back up there. I just wanted to look really same thing with right in this area. Just wanted to look real, and I don't think I need to go any further than that. That's looking pretty darn good. Now what we can do is we can go back in here and we can increase the darkness of the sky again and see if we like it. We can lighten it dark in it, And again, I don't think it looks bad at the full darkness of the image so I don't see any issues from , you know, basically looking at a broad perspective now. Another thing that we can do this is pretty cool is if you don't feel the house and the sky are in proportion. In other words, I like the house. The brightness level it's at I think it looks great. But let's say you change your mind and you want to make it a little bit darker. So you click on the the base layer. You're bottom layer coming to curbs, and it now added a curves adjustment layer. And you can, because it's sitting right above the house but not above the sky. It won't affect the sky. So now we can dark in the house as much or as little as we want and create a believable dusk dark image with a new sky. I'm going to probably give it about right there. That just feels so nicely balanced to me that I'm going to leave it right there. So that is the final, um, image for this particular process of replacing this guy one of many ways you can do it in Photoshop. Now let's go ahead and just do one more thing. Harrell show you Hold down the shift control and alter or option and hit the letter E. And you've now got a new layer that's combined everything below it in tow. One layer, all the adjustments. The sky could turn all these off and they're still there. I'm gonna go ahead and use the lens correction tool to fix this and we're gonna come in and do this manually straighten it up, and that looks pretty darn good. Then I'm going to go in and I like to crop using the marquee tool. Here's the bottom of the image right here. You can you can just see it. So if I turn off what's below, There you go. I should have done that. That helps you see a little bit better about what you're going to get. I'm gonna crop the sign out because it's not important. And give it about that much room come up and image crop. And there's the groups. I don't like this. That was a little too close for comfort. So let's redraw. Let's get up here a little higher. Come down just to the sign right to the very bottom and try that again image crop looks much better. So there would be the final image replacing the sky on this home. 21. Removing Bounce Flash from Ceilings: Okay, so this video is to basically go in and replace a hot spot in the ceiling. And I've got a series of exposures here, for example, here is the bounce flash off the ceiling. The reason it's bounced off over here. Fact will look up here. Click on that picture is to benefit from the bounce light that's hitting the couch in the kitchen in the area back here. That's why we bounced it back here so that we could get this area back here. And what we would normally do is blend this area into our base layer, which would leave this not showing. But in the case of this video, a lot of times, if you have your lights outside the frame on either side, you're going to say, Get streaks coming across the ceiling that make the ceiling too hot. Or if you had a a lamp fixture, there's a shadow behind it, or a ceiling fan and a shadow behind it. So we're gonna go ahead and just look at replacing the ceiling here in this particular image. So this image here is F 11 at 1/5 of a second, and it's a slightly dark exposure, but it's done on purpose. So the effects of the flash stand out a little bit better by darkening the ambient light slightly. So the next thing is to find the other image with a clean ceiling, and it happens to be the one right below it. Number 90 here again. Overall, this is dark, but it's retaining some detail in the lamps and other areas, Which is why I do this because I can always go in and brighten things up. So I'm going to select these two images as the ones in which I'm going to use to just replace the ceiling here. And so first thing we do is select the to open those in camera raw. Okay, so they're both opened. What I'm next going to do is I'm going to select the non flash exposure here, and I'm going to brighten it up a little bit. So I'm gonna add a little brightness to the room, maybe somewhere right in there. Now, this is not gonna make the whole room perfect. What I want to avoid is basically, um, blowing things out over here too much. But then again, the way that I do. This is I bracket and I come back in and I'll have what I need to blend into dark in these areas. So I'm gonna brighten this up about 1/2 a stop. Maybe a little bit more. Okay, I guess we're getting pretty close to a full plus one, or that's about opening it up about one stop. So then I come over here and I hold down the shift key, and I select this image. They're both selected. And then I come in and and I sink the settings. So what that means is that both the top image which I did not adjust, will accept the same adjustments that I did on the base image or the other image. So they're sinking right now, so they should be the same brightness. We'll click on the top one here. And the bottom one here. They don't look exactly the same. So I'm gonna go back in. Even though they were the same exposure, I'm gonna go back in. And the difference is that the flash brightened the room of a little more. So I'm gonna bring this one back down, darkness wise and get it to match the previous image. So let's go back and forth. In the end, I'm doing this a little bit more visually. Go back to the top one. Okay? Probably that's pretty close. So the color balance is slightly off between the two, and that's important that they both blend nicely. This is a little bit warmer, and this one is a little bit cooler because of the bounce flash. So we're going to give it a little bit more. Get it fairly close right now to the other image by adding some yellow. And let's go back and look. See how close? Not bad. This can obviously be corrected later when I get into photo shop. So I'm gonna leave it right there. So both images are pretty close and exposure as well as color. So now I'm going to open them both in photo shop. Okay, so they're both open now. This is the non flash image, and this is the flash image. So the way that I'm going to do it this time is I'm going to use the non flash image stacked on top of the flashed image because I'm doing a ceiling adjustment. So what? I want to do is I'm gonna grab the I should say, select the flash non flash image. This one. Pull it down like this. Now, holding the shift key, I select the move tool right up here in the upper corner. Okay, move to holding down the shift key. I drag the image onto the other image, and then I could just close this out. No need to save it. Okay, So by holding the shift key, everything aligns perfectly. Notice the registration. Okay. Now, if you look over here, the non flash images on top turn that off the flash images in the bottom. So have the non flash image on top, or I'm gonna call it the clean ceiling. Come down here and I add a layer mask. Okay, there is the layer mess. There's the icon right there for adding the layer mask. There's the new layer mask. This is called a reveal mask or a C all I'm going to now hit when Damascus selected, which is that white frame around it. You get this properties window where you can adjust the mask if you hit invert, it turns it to black. Now the mask is hiding the clean ceiling image and what we see is the flash picture underneath. It's been hidden. You can hold down the shift key, turn the mask off. That's what you get. The red X. Now you can see the image. The clean ceiling image is visible again. Turn it back on the mass that is. And now it's hiding that image from being viewed. So this is the easy part. Now what we want to do, we want a paint or brush on this mask so that we start revealing the bright ceiling behind . I'm sure the clean ceiling behind. We want to reveal the clean ceiling behind with leaving the rest of the picture here. So we have black as our foreground color. So if I use the paintbrush, it's gonna be painting black. Well, I have a black mask over here, so there's no sense painting black on black, so we're gonna rotate this and make the or alternate may quite the foreground color. You can also do that by hitting the letter X. That's the keyboard shortcut and ta go back and forth. We want white come up to the brush. I want a fairly soft brush so I'm going to move the hardness all the way down. So So it's a very soft edge, feathered type brush. Then I'm going to, uh, set my opacity real low to about 30%. And I'm going to start brushing on the area here to reveal on Lee the ceiling from the clean ceiling picture. I want a little bit bigger of a brush. So I'm gonna come in and increase my size to more than that. That's probably little too big. So 3 50 ish. All right, here we go. I'm starting to paint. Now. Notice that the hot spot on the ceiling is starting to go away. Now I let off on I'm sorry. I let off the mouse key and what I've done because I have it set a 30% the first time you brush the ceiling like I'm doing appear right now you're brushing 30% opacity on to that layer mask. Here's the mask. Over here. You see it? Hold all key shows you what the mask looks like. That's where I've painted. This is 30%. Then when I lift the mouse and I start painting again, it's now 60%. So I go back and I'm going to just keep brushing on here and painting white onto my black mask in a 30% opacity. Very, very carefully notice. What's happened is that hot spot in the ceiling is almost gone. It needs a little more work cause it's still kind of splotchy, so to speak. So let's look at the mask again. OK, notice the unevenness of the mask. You know, we're 60% here were close to 90% in here. So what I'm going to do is I'm just going to go appear and I'm going to raise my opacity to 99 or you could do 100%. Now it's the full brush, and then I'm gonna go in and I'm painting clearly painting white in the area of the ceiling . Now I can't paint any more white on the black Mass because it is now pure white. So again, I hid the picture and just show the mass by holding the cult or option key and clicking on the mask. There's the picture, so there's the hot spot. I'm over here. I'm turning it on and off. There is the clean ceiling from, and I'll show you again by turning off this mask. There's the clean ceiling picture. Now there's the picture that had the flash hot spot, except I replaced the hot spot on the ceiling by using a layer mask and revealing on Lee the clean part of the ceiling from the clean ceiling image. So that's basically how you replace a hot spot or how you replace other areas that you want to mask out. So there you go, enjoy.