Architecture and Real Estate Photography 7: Commercial Properties | Charlie Borland | Skillshare

Architecture and Real Estate Photography 7: Commercial Properties

Charlie Borland, Professional photographer for over 35 years

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10 Lessons (1h 16m)
    • 1. Intro to Commercial

      0:22
    • 2. Photographing Commercial Properties

      6:20
    • 3. The Motel Lobby

      5:41
    • 4. Photographing the Hotel Pool

      10:26
    • 5. The Hotel Lobby

      4:37
    • 6. The Hotel Lobby Pt 2

      9:59
    • 7. Photographing the Hospital Lobby

      5:00
    • 8. Photographing the Hospital Offices

      5:17
    • 9. Removing Buiulding Power Lines

      18:30
    • 10. The Architecture Magazine Assignment

      10:06

About This Class

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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 7th course we cover photographing commercial properties like office buildings, a hotel, a commercial furniture company, a hospital, and more.

Transcripts

1. Intro to Commercial: Hi, I'm Charlie Borland. And welcome to architecture and real estate photography course number seven. In this particular SYRIZA lectures, we're gonna look at photographing commercial properties, including office buildings, hotels and a hospital. And some of this is very complex Photoshopped techniques. So I'm sure you're going to enjoy it, so let's get started. 2. Photographing Commercial Properties: hi and welcome back. We're gonna talk about shooting interiors in commercial buildings now because they really deserve the same approach to lighting, styling, composition, just like any other architecture assignment. To make an interior look good, you will need to move furniture, plants and props to create a pleasing and dynamic composition. Not that you're going to be doing that extensively, because the client is really in control over how much of that is going to happen. But it's certainly good to talk to him about it. If you see a dynamic composition that needs something in there to really make it pop out a little bit more like a big plant or something, then go ahead and talk to the client about doing that. Once you're inside and you walk around, you need to decide if the ambient light that's in the building is adequate or if it needs to be supplemented with your own lights. Here you'll be working in a much larger areas and often need substantially mawr lights to pull off a shot. The good thing about commercial space is they're often very well equipped with lots of overhead interior lighting. Unlike a home which in some cases, has no ceiling lights and relies on lamps and other types of light sources that the homeowner brings in. So for this building here, I had a large front windows with ambient light pouring in, and you will note that the exposure I chose did not blow out all the outside detail completely. I took a color meter reading, and I did little bit of filtering on the camera. This was shot with a four by five, by the way on film, and I placed to light heads with seven inch reflectors and lighting gels down the hallway on the left to brighten that up. And if you look at the left side and the second column, the smaller one, you can see a highlight running right down the side of that column. This was just really to add some light in there and brighten it up a little bit. My color meter reading, by the way, showed that the entire room was only slightly warmer than daylight, so it didn't require a whole lot of filtration. Now, years ago, I was hired to photograph a dude ranch, which not only included interiors of the lodge and all the cabins that they rented, but it also include the dining room here, as well as people enjoying the ranch, including horseback writing, a chuckwagon barbecue and mawr. Now this image here was a little bit challenging because you had people in there and they were going to be moving. And we had long shutter speeds to get the interior lighting to help, as well as strobes and umbrellas spread around. So in this case, the lodge owner invited all the local people that they were friends with over for a dinner , a real dinner that their kitchen cooked. And then we set up. And once we're ready to shoot, we just asked everybody to hold real still and not move. Look at each other, smile and so on. So we lined up some strobes, umbrellas on the left and the right side of the camera. They then were raised as high as we could get him up there, which was about 10 feet that way. It didn't hit the back sides of the people as much as the periphery of the light coming out of the umbrellas hit the back side of the people, so this actually spread light more evenly across the entire room. If you lower the umbrellas down to say six feet, then they're going to really blast the people in the back because they're so much closer to the people at six feet versus 10 to 12 feet up, higher, where the lights sort of thrown all the way across the room toe like the far walls toe, like the far people and so on. The color temperature in here was 4200 Calvin. So we filtered the gels a little bit and that converted all the light sources to be the same color than it was converted on the camera for proper color balance. Here was the dining room in a retirement community, where I was photographing room interiors and everything, and they wanted a good shot of the dining room. So I chose this perspective because I liked how the front table acted, sort of like an arrow in a way and pointing visually towards the back of the room. But it was a little bit challenging to get light in there where I felt it had some black holes. This is a window exposure combined with some fluorescent, which was not a very good mix. So first I went in with my color meter. And then I countered by adding gels to the strobe, as I always do. And then I lined up three umbrellas on the right side, running the length of the room, and they're just out of you. So to the right of the camera, there's an umbrella than halfway down the room. There's another umbrella, and then at the far into the room, there's 1/3 umbrella. If you look in the very right upper corner, you can see a highlight from one umbrella hitting the end of that wall down there just to show you. Once I had these umbrella set up, I pointed them at the window on the left side so the light would come straight across the room, basically filling in all the way. Then I adjusted the power after some test shots and make sure that everything was right on the money. Then I added two umbrellas, one on each side of the camera, and these acted kind of like Phil. If you look at the table right in the foreground and the chair that's in the left lower corner you can see the back of its lit, and that's coming from the umbrella on the left side. I did a few more test shots, but I found some black holes in the scene that really needed some light. So I took one of my strobes on one of those short, low floor stands, and I hit it by the tables and the chairs towards the middle of seen. And it's indicated by Arrow. The purpose of that stroke was basically toe like that left back corner, where the carpet appeared to be kind of dark compared to the rest of the scene in my initial test shots. So this is the final image, the colors pretty good with windows holding some detail, and there seems to be good detail throughout the room. Okay, so let's move on to the next video about shooting architecture in magazine assignments. 3. The Motel Lobby: Hi and welcome back. I want to show you one photograph from a hotel I was asked to photograph for an advertising agency. And this assignment had me going in and photographing hotel rooms, the lobby, the gift shop, the restaurant, the bar and Mawr. So I'm going to show this room because we did some more selective lighting in here and I want to show you basically how we did that. My goal was to create an image that required very little Photoshopped. And the reason is the client has an art director on staff who knows how to use photo shop and probably quite well. And I like to have control over my images. You know, in in most cases, not all and I prefer to create the perfect image for them. So very little photo shop was would be required on their part to basically change the image from the way that I wanted it to look. Of course, I say that, you know, kind of with a grain of salt, because clients who I'm shooting for could do whatever they want with the pictures, and ah, but I wanted to kind of jump the gun here and they asked me to also be kind of careful about how far I extended the techniques that I use so that they didn't have serious Photoshopped compositing. Because as you learn in this class, a lot of these images can require a lot of photo shop work. But if they don't want to pay me to do it, then they got to do it. And they're not going to understand how I shot all my different elements to be composited together. So back to this image. That's why I wanted to create an image that pretty much was ready to go for them in the first place. So the first thing we did when we got here was we took a color meter reading right in the middle of the room toe, basically determine where the color would be. Now I do know for a fact that closer to the window, we're gonna have more blue light coming in, and that could be changed later. But then again, it's going to depend on the exposure for the window that I create as to how much color retouching is really gonna be done over there. So we took that reading and then my assistant added the appropriate gels to the lights so that they would match the average color temperature for the room. I also wanted to use a lighting strategy that added enough light to the room to bring up the brightness level as far as the shadows and that sort of thing, But not have my lighting overpower the natural look of the lighting. That's something I've talked about in this course. I like my lighting toe look natural but effective. So I added some numbers to these two. This photograph so you can kind of get an idea of where I positioned my various lights in position number three on the far right side and out of the view is a large umbrella pointed into the room, and it's kind of aimed at the front window on the left side. Now when I put that light there and then I took my initial test shot, the wall that's actually indicated by number four on the far right side was getting hit by that umbrella quite a bit. So rather than feather my light away from that wall, I set up one of my light panels on those PVC frames, hung it on a light stand, put it right next to the umbrella, and it acted basically as a scrim to knock the light down that was hitting the wall from that umbrella and keep that light going further out into the room. And subsequently it wasn't very hot then. So the umbrella that's at position number three, I added another light with a small umbrella and pointed it at the table that's in the foreground of the camera, right here in the in the foreground. So if you look at the furniture, especially the chair on the left, you can see some light is hitting chair on the inside and the arm rests and that sort of thing and the same thing's kind of happening with the other chairs as well. Again, a subtle addition to create light that shapes the subject. And so one, then at number five on the far left is another large white umbrella, and it's pointed straight into the room and basically again, just keeping the brightness levels up. Now number one on the very back wall, there's several number ones back there. If you look back there, you can see kind of a grid spotlight pattern on those plants back there in my initial test shot, those were kind of dark areas, so I wanted Teoh equal them out. Brighten him up a little bit. So I have grids, strobes with grids on him, on floor stands behind the couch and behind the chair hidden so that and they're going in there and just kind of brightening up those dark hair. So again, you've heard me say over and over. Accent lighting is the key to really powerful images and so on. So that was pretty much it for my lighting with strobes. I basically used six lights to go in and bring up the brightness level, but also add highlights and accents to the various areas of the image that I thought were most important, which was the chairs and table in the foreground, and then sort of eliminating the dark, darker areas that were back there by the fireplace with grid spots. So here's the final image. After I corrected the curves in Photoshop and, uh, client again was quite happy. So that's it for this one. Just wanted to show you accent lighting with the specific intention of minimizing my photo shop time because the client didn't want to pay me to do it, so that will happen. 4. Photographing the Hotel Pool: Hi and welcome back. Okay, here's the image was shot of the pool and again as just a little bit of a recap. I have a strobe over here on the right with a grid hitting this area in here to brighten it up a little bit. I have another strobe right over here. As you can see, it's kind of brightening up this area here. You can tell by the shadow right there that that's coming from a strobe. And so that's it for the lighting in what I call the base image. And this is the image that I then take, and I build the various layers on to create my final image. So you look over here, have a number of layers, and I have to background exposures. Um, with the 2nd 1 is just a copy of the 1st 1 This is something I used to do a lot of. I always felt like I wanted to ah, have a background copy so that if I found a piece of dust, for example, I could go retouch that dust on the background copy, but still have my original background available. If I needed it for whatever reason. That's my workflow. I don't know many people that do the same thing, but it's what works for me. So the first thing I wanted to do in this image was replaced the windows. So I added this image, which, as you can see, is under exposed for a proper outdoor exposure. Now I'm gonna turn the mask on so you can see that's the final composite of masks. Now let's take a look at the masked by itself, and you can see that I went in there with the polygonal lasso tool, and I made edges around each of the frames for the windows and the door, and I then, uh, use Ghazi and blur at about 303 to soften the edges a little bit and allow the windows too , you know, basically fit in the frames without looking like cutting paste, meaning blended a little bit better. So I went ahead and I pasted in those windows. That's the very first thing I did. So I'm stopping for just a moment because I realized I didn't mention one thing that we did back when I was showing how we set up to do the lighting And that was how we dealt with reflections in the pool and in particular these from this window and the sliding glass doors air creating huge reflections, this type of reflections very easy to remove with the various types of tools we have for retouching like the clone stamp and so on. But this is a little bit too big for that type of a process to fix it, as well as some of this other reflective material in here as well. I'd like to get rid of those, and it's best to do that while shooting rather than waiting for post processing to go in and use the photo shop tools. This would take a long time, so it was much easier to do it all in advance. So what we did is, as I mentioned before, I do any lighting. I always bracket like crazy and particularly that gives you your various windows and your light fixture brightness levels. So here is a very dark exposure. That's about 1 2/50 I believe it about F 11 and it's one of the brackets. I got four getting good window exposures now, As you can see, it's a really fast shutter speed. I can't really go any darker. Well, I could go darker F 16 f 22 that kind of thing. But again, these are not even usable, really? At the F 11 at 1 to 50 if they probably be better at once 11 25th or 1/60. There, somewhere in between would be the proper brightness level. But the real issue and what I'm talking about at the moment are these reflections right here, as already mentioned, those air hard to get rid of. So it's easier to set up when you're doing all your lighting to set up something toe block . These reflections from from getting in the water And then it's much easier to do all the exposure blending when it comes to the clean pool. So what we did, we closed all these blinds, chose that really fast shutter speed, set up strobes. You've already seen some of this, um, already in how I lit the pool area. And then I set up those two bed sheets that I've talked about many times. They're really dark. They're great for blocking, blocking light for the most part, suspended between a couple light stands, and that pretty much removed those from the pool. Now it'll be much easier to go in and get rid of these little lines and exposure. Blend this in a lot better. There are a lot easier than it is again, as I just said, doing it in post processing. So I wanted to show this before I moved on to the next steps on how we composited the all the different elements that we created to for the final image. And the main point was putting up these bed sheets to block the's huge reflections. So that's how we did that. Now the second image here is the, ah, brightening up the water with the pool using my strobe lights again, a strobes over here than these two are creating, Really making that water look blue, tropical, so to speak. I don't know how else to describe it, but you know, that was the effect we really wanted to do. So here is the layer mask turned on. So again, it's that high delight technique we're seeing. The effects, like these shadows, are the effects of those strobe lights and, um, in the pool there, without actually seeing the strobe lights. So let's take a look at that mask now. And you look wrong. One, this one here and you can see that I went in and I blended in some of that water. Teoh, you know, basically brighten it up. And these were the reflections from other areas of the ceiling lights that I wanted to get rid of. So let's turn that mask on offer just a sex. So you can. I'm sorry. Not sealing likes. The strobe lights were doing a little reflecting, so I was able to get rid of those with this. Ah, with this exposure. Okay, so now we've added the windows. We've smooth water out nicely. I think I did a little bit more work on the water. So this is the mask off. Sorry. This is the mass turned off, and it's the same image as the previous layer. Um, but I wanted to do some more work on it here. So let's turn the mask right there and again. What I'm doing is I'm going in. I'm adding some of the brighter areas that came from the strobe lights. I realized this looks like a mess. I obviously brightened too much. Then I had to go back in and re dark and some things. So let's, um, turned that mask off, and then I'm gonna toggle this image on enough. What I want you to look at is these areas in here in particular and a little bit more in here. Okay. See, it's darker here. So what? I'm sorry darker in there as well, So it's too bright. So I'm dark any down a little bit, so I turned that on. I brighten this up, but I darken this down just a little bit in some of those areas. So toggling it on and off to see the effects of what I did again, even on the I'll call it the sidewalk or this side of the pool there is affected a little bit with this here. Okay, so the next one is to light in the water a little bit more, so the mask is off. Let's turn it back on, and you can see I went in here just basically lighten a little bit of what was showing. So I'm gonna talk about this on and off, and you can see just very subtle hints of lightning the water just a little bit. Okay, let's come to this one. This is a brighter of my bracketed exposures, so I call it the Dodge Layer. Let's turn it back on so you can see I was dodging the ceiling. I was dodging the sidewalk, some of the water, some of the left side trying to smooth things out. So let's talk all that on and off and look at it. So again, the sidewalk on the right, the ceiling on the right, the sidewalk on the left, a little bit of the furniture on the left as well and again even water in here. So we'll talk about that a couple more times, give you an idea of what I wanted to do. Okay, so let's go on to the next one. This is the sauna. I forgot to tell you that I had put a light in there to brighten up the sauna. So let's turn that on. You can see there's the mask. Very easy selection to make when you're creating the mask. And then there's the final shot window in the sauna. So there we go. OK, this is the gym lights again. The mascots turned off so you can see what it looks like. I just basically bounced a flash in there and then, uh, added that so you could see in there clearly. Okay, so we're pretty getting close to being done here and now I did a hue saturation just to kind of bump it up a little bit, making a little bit more colorful. And then finally, I added this layer, which is a, um can it brushing in some different color there, on on the sidewalk on the left side. So this area right here is a little more blue. This tends to be a little less blue over here, So I win in and I added a little bit of that color to change a little bit. And it's also a little bit a little bit brighter. I don't do that technique that way anymore. I used the color empty layer set to color when I want to change the color now, but anyway gives you an idea. So that's it for the swimming pool. The last thing was the lens correction tool, and if you look right here now, this is the final image showing the lens correction tool and the swimming pool. So this particular shoot probably took us about three hours to get it all just right. So this is why a shoot like this probably takes 1 to 2 days when you got a lot of different rooms to photograph. So anyway, let's move on to the hotel lobby. 5. The Hotel Lobby: Okay, welcome back. And here we are on photo number two, the 2nd 1 that I'm going to show you from the hotel because it was a complex technique. And when I, uh, arrived that we started walking around the client scouting and when it came to doing the lobby here, he chose this angle. He thought this representative really, really well, he wanted the door open. As you can see, right now, it's closed the front door, that is, and also see the airplane hanging from the ceiling. And I, of course, needed to make sure I got proper window exposures as well as proper lamp exposures, but also bring in lots of light to bring the brightness level of the overall interior up. And one of the other problems I had to deal with was that hot spot on the floor that had to be dealt with. So we went ahead and started setting up our lights. And I began by putting two umbrellas on the right side. What I decided to do, figuring that my strategy had to pretty much be that I shoot one side of the room with my lights, Then I move my lights over to the other side of the room toe light up the right side of the room. So in this particular image you could see the lights. There's two stroke both into large umbrellas and aimed pretty much at the, uh, check encounter there in the lobby. And they were filtered to match the indoor pretty much tungsten light altogether. If you take a quick peek of this image, this is my test shot without actually doing any photography to get an idea, and you can see how sort of amber green it is here. So lots of tungsten. So I ended up setting up Ah, the two umbrellas on the right side. I jailed all the lights to match the indoor tungsten lighting. So I set up two umbrellas on the right side of the lobby and then near the very far umbrella, which was one more light with a grid on it, and it was positioned to hit the model. And so that grid is to hit the back side of him and the person at the front counter who would be helping him, and I then placed another umbrella at this end of the lobby counter and It's kind of hidden behind the wall, goes to the front counter on the left side's kind of hidden back in there, and its job was to again hit the counter and the models and so on. And once we have the model there, you able to see the lighting effect a little bit better. There was a fill umbrella behind the camera, mostly just to light up what's right in front of the camera here, the wall on the left and the flower and base on the right. Then I had one mawr light down on the floor stand at the very far end of the lobby counter , and it was aimed at the furniture back there in the far corner, pretty much just to brighten that area up back there a little bit of as well. So I went ahead and got my exposures down, shot the left side and then we moved the lights over to the left side so that we could get the shot for the right side. And as usual, I went in after I was done with lighting and I bracket all my exposures to make sure that I had some good base images before I opened everything up in photo shop. So anyway, as you can see here, things look pretty good putting lights on the left side to brighten up the right side and then doing the same thing. Vice versa for the lights. Being on the right side to brighten up the left side worked pretty good. I've got lights hidden in various places. Two for the most part, um, brighten up the little corners back there. The little areas like the right side, far back corner and the left side, far back corner and the office area, and so on. One light that I just realized I fail to mention is upstairs in the upper left corner. You could walk up some stairs and get up there. I have an umbrella on a stand lighting the airplane, and you can see the shadow cast by that. So anyway, that's pretty much how we shot the room. So let's go ahead and move over to the next video, which is photo shop, and I'll show you how I put it all together. 6. The Hotel Lobby Pt 2: Hi and welcome back. Okay, so let's go ahead and take a look. Now at how I put this final image together. And I'm going to start here with my base image, which is Thebe totally lit with the strobe on the interior. A slightly long shutter speed, too. Get some of the ambient light coming in and assisting. And you know, to me, this is perfectly balanced between the ambient light that's inside as well as the strobe lighting that's brightening everything up. So if you look here, we've got that umbrella, the other umbrella down here. And here's the grid. That's kind of coming in and lighting the back of of this guy. You can see it's casting a shadow. I'm gonna show you how I remove that. It's also lighting her nicely. You can see here an edge of light coming out, meeting shadow, their bright highlight. That's from the umbrella that I mentioned I had coming in. That's gonna light the front of his face and kind of put an edge on the back of her as well . There you go. A little closer. Look, he's lit from that umbrella. Her backsides lit from the umbrella you know, and that umbrellas just right behind this wall back here, lighting the front of them. If we, ah, zoom over here a little bit Mawr, you see these shadows and stuff in the highlights here that's coming from the light that I have on a floor stand around the corner here, below the level of the counter so you don't see it, and it's just a ah grid, a wide grid. So it's kind of creating a circle of light, so to speak. But as you can see, it's spreading a little bit further. And most of the time, if I want that much spread, I'm going to use a rod dish and with nothing on it and just set it in a power at a power level where it's not overpowering or anything, and kind of just pretty much ads good detail back there. And then, as you can see, the grid, the second umbrella in the main umbrella and so on. So let's go ahead and start looking at the photo shop steps. Okay, so the very first image I drug on top is a darker one. I decided to attack these windows back here first So watch those windows. Let's zoom in a little closer. So watch the windows, toggle it on and off the wrong one. Go to the mask, Turned the mask back on. And then let's take a look at the mask itself. So I didn't do a clean selection like I used the polygonal lasso tool. I'm just brushing him in to be brighter. That's gonna be so small in print that I don't really need to do that. So there we go. Let's turn that on and off. See the windows just a little bit darker. Looks a little bit better. Okay, so and now I got the lights on the left side to light up the right side. But this is not what I'm actually lighting here. I've got the mask off. Let's turn the mask back on And the strobes on the right are showing. But this mask is for the front door right there. So let's turn that on and off. See the door of the client. One of the door open. He didn't like that because that let was kind of an old automatic opening door. So he wanted that out of there. So basically, I just went in and I made a selection around the door. And then let's turn the mask off and this is the image and I went in and I just made a selection around the door. And there's that selection using the polygon, a lasso tool and then that basically hides that door for cleaner opening. More welcoming. That's what the art director asked me to do. Okay, so our next image, they all the doors back. But the only reason the doors back is because I got the mask turned off. So let's turn that mask on and you can see a lot of things were happening with this image. But it's the mask that's going to tell what it was used for. And it's the hot spot that's on the floor from that window. So let's turn that off. You see this hot spot here? I really wanted to get rid of it. Now I use other techniques. I've already demonstrated those shedding, setting up the black sheets and stuff like that. I didn't do it here. So what I ended up doing was using one of the bracketed window exposures where I have darker windows outside that minimized the results of the reflection here coming from the window because the faster the shutter speed, the darker the windows are, then the darker the reflections gonna be. So let's turn that mask back on so you can see it. All right. And so on and off. Bright, not near as bad. So that was the reflection on the floor. Okay, so next I drug in another one of my layers, There's my assistant trying to get out of the picture drug. Another layer back in was lighting up the right side. So I have the two umbrellas here. I also have some grid spots coming in and sort of blasting this really dark furniture in here. You can see some shadows and stuff to brighten it up. Now, that's gonna be so small in this picture, it probably is almost kind of irrelevant. But then again, you just never know. I want it to look fabulous. So that's what this image is for. So I turned the mask back on, and the light is now hidden. But the effect on the area back there, this is what it got. Rid off. So let's look at that mask. There's the mask that I used. Basically, get rid of the strobe light and blend in just this exposure back here So you can see that's what I got rid of by allowing this clean area to sit on top of the previous picture, which has the umbrellas. So that's how I blended that in. And this looks really good. Okay, let's move on to the next layer. So what I wanted to do next was get rid of that shadow. So how am I going to do that? Well, I'm going to go back to one of my test shots from the very beginning. See, this is all nice and clean testing the exposure for the umbrellas before the model shows up to stand at the desk. So what I ended up doing was adding a layer mask, then Onley blending in the counter right there. I don't remember what that is. All look here. So the counter is now clean because I just used that little bit of that previous were of that image where the model is not there. And that got rid of that shadow. Now the ah, the other highlighted area. This area right here, I kind of don't remember that, but it must have had something to do with something here that was a shadow and it was dark , so I lightened it up at the same time. So Okay, so here's the next layer a curves layer. So let's turn that on. You can see that I've gotten rid of a few things, and what I did here is lightning or what we used to call dodging in the dark room. So here's what I did. I added a curves adjustment layer. I said it to screen, which lightens up the image by about one stop. But then I don't want the whole scene to be opened by one stop like this. So I'm adding the layer mask and I'm gonna go in, and I'm going to paint Onley in these areas that I want to basically dodge or lighten. So let's go back and look, you know, the lower left corner, the flowers in the vase on the right, some shadowy areas up there by the airplane, the shadow from the airplane. That's what that was for. It's pretty much cleanup is what I call it. Okay, so I added another curves layer It's also set to screen. Turn on the mask, some of the ceiling and one of the lights down there in particular, this light right here and then probably lightening up some some more shadows there that I noticed. And then finally, the last layer is a very dark layer, and it's sole job was just to darken down some of these light fixtures just a little bit, and I realized they look really small. But in reality, you know, I just want a little bit more detail in them. So as you can see, I just did a little bit darkening by blending in a darker exposure, taking one of my under exposed ambient light exposures and going in and darkening a little bit. So that is pretty much how we let the lobby strobes on each side, as well as behind the counter and in the back area and so on. Then finally finishing up in Lens correction tool for straightening this image out. So anyway, that gives you an idea of some lighting strategies. If you ever find yourself in a situation like this, where there's no room to hide lights and you could look at this in a way as sort of light painting, so to speak. But that's a little bit different than what I've shown in some of the other video, so 7. Photographing the Hospital Lobby: here is an image interior of a hospital that is one of the most complex Photoshopped jobs I've ever done. They paid me way more to do the photo shop work they did to do the photo shoot. So I'm gonna quickly go through and show you all the examples. I'm not gonna demonstrate how it do it, but it's layer masking is all it ISS. And first thing is, I go in here, I bracket my exposures like mad, and I get not only a good room exposure, but I get really dark exposures where this light is perfect and has detail in it. Same thing with these lights as well as brighter exposures for the very dark areas. Now notice that there's plants here chairs Here was a guy there. There's brochures here. There's a waste basket outlet and there's a plaque on the wall And here is the final image . It's all gone Shares air gone, plants gone shadows air gone Shadows air lightened waste baskets gone Plaque on the wall is gone and so on. So here is very quickly how I did it. First of all, I changed the color in the ceiling. Okay, then I lightened up this on the foreground, and I will tell you right off the bat, they kept sending it back. Santa, can you get rid of this? Can you get rid of that? And that's how I ended up with. Ah, that final image. I had 16 versions. Okay. Shadow on the floor brightened up there. And then Ah, that's doing something. Okay, The next image shares were gone. So basically, I am cloning other areas to replace where the chair is. So here, you can see I'm starting to clone. Then I would copy this section, and I'd move it over on top of that and move it over again. And then same thing on the other side. Start cloning in the other pieces until it's gone. Now there's the bottom of the legs. Okay, Now they're gone. I basically cloned the areas of I'm sorry. This is the guy over here. I just replaced him with the wall. Okay. Legs, air gone. Probably in the previous picture. Yeah, it's gone in one of them. I shot so many versions, then I Then I, um, straightened it all out, got rid of the wall, and that sort of thing. And what do we got here? Just some brightening layers. Okay, Black clock almost got rid of that light altogether, at least in this particular image. It was replaced later, but clock plaque, Fire alarm on the wall. Okay, the next version. All right, I'm gonna turn this on and off. Watch this stuff here. Let's see. What's this? Okay. Waste basket right in the middle. Ah, these little walls here again. I am just cloning from other areas and the lights totally gone. And then of the Brighton again. And this time it got rid of something right in there. Oh, the brochures. Okay, they There's part of the brochure is gone. There's the rest of the brochure is gone. Okay, now the plant. Okay, there's the plant right there. Clean up the floor a little, and sometimes I can't tell exactly what the layers. You all right? I'm starting to rebuild where that plant leaf is. Plant's gone. Rebuilt the chairs that's gone. Carpet still needs some work. So I'm over here in the final image and, uh, cleaned up the front counter. There's no shadow there anymore. Cleaned up that shadow by cloning from down below and clean up the front of that. And basically, that's the final image. And it was a substantial amount of Photoshopped work. And it looks like we got rid of that light fixture. Totally. I think the client was just fine with it. They asked me to actually get rid of that. So from here, raw file right there. Bracketed like crazy Final image. Right there. Substantial amount of photo shop work. But this is the future of architecture photography, shooting for Photoshopped. 8. Photographing the Hospital Offices: Okay. Here is another architecture shot. That was substantial rebuilding in photo shop. So here is my rock capture. And there's the final image. A miracle, absolute. Total transformation. Now, why did I start with this and end up with this one over here? That's the final. But how did I get started with this one right here? Okay, First of all, there's a bulletin board right there with patient names on it. The guy who allowed me access to the hospital. Shoot this. That do not get that in your picture. That violates HIPPA rules, so Okay, fine. So I do that and then extending to the client, they're going, Why did you cut it off? And I had to explain it to him. And in the end, they said, Well, can you fix? It's like, OK, no problem. So here's what we had to do. Substantial rebuilding. All right. First of all, extended my canvas, and then I started cloning. This ended the counter. This wall here flipped, um, and put him over here. Okay. The next image I start straightening those things up and blending the carpet, correcting, you know, turning transformational, that kind of stuff. You got all this blending to do here, Make it all match. Okay, then I started rebuilding the ceiling. There we are there, and now I start rebuilding the ceiling matching colors, you know, create using a great Asian to make the wall look more realistic. Like this light is lighting the bottom part, but not the top part. Okay, then again, Mawr blending with the the tryingto fill in these areas, so to speak. All right, then what I ended up doing taking this one and finally was able to go in and crop a square out of it. And I end up with this one and lots of different blending techniques using Photoshop to start filling in areas here by cloning and matching lines, copying and pasting, then starting to blend and Brighton specific areas matching color. See, this is just the color right Here is a color correction layer. Okay. And then same thing back here, Then we move on to this particular image. And what we've got is a bunch of junk from the previous adjustments I needed to do because I was cloning. All right, So then bright ning as well and the next layer this one's. This one's got a lot of layers. So let's take a look here. Uh, what we did. All right, So there's my base layer and then, uh, Let's see. Small panel and phone. Ah, there's a phone. Something to do. Right in here. Okay. Desktop had to get rid of all the books, had the clone right out of here and lay it and skew it in there to match. Then this is the wall right there. Get rid of that computer. All right. Black hole on the left. I don't know what that is. Okay, there it is, right there, Filling that in with a pretend panel. All right. And then more of that filling in to make it look like it's the desk back there than the counter edge. Let's blow that up big so you can get a clip. All right, let's bring that over here so you can get a little better. Look, all right, That what we're doing here? Okay. Rebuilding basically and grabbing sections to create fake desks from other areas. That's the counter edge and black hole panel right there filling that in. Basically, they wanted me to get rid of all that stuff. So there you go. So that's it for this one. Now we're at this one here. And where are we? Here. Okay, this is just a duplicate. Okay, Now I'm getting rid of the copy machine by again Cloning and filling in. All right, the next one year. Alright? Copy machine is gone. Why? Just filling in with wall that I cloned from other areas. And then I create a gradation to make it look riel. And there's the final image back and forth. Got rid of the picture. Got rid of the books again, faked it all, cloned it in from other areas. It was a bear. 9. Removing Buiulding Power Lines: okay. I want to show you a very challenging project that a client gave me to dio first there Construction company. So they asked me to go shoot a lot of their properties, and this is one of the newer ones. What they wanted to know is, if I could get rid of all the power lines as well as the cars on the left, and I told them no problem on the power lines. Cards are a little bit more challenging because you gotta have something to actually clone in behind there to make it look believable. So we started with the power lines. And when I'm out here doing this photo shoot, know how to go about doing the part of photo shop of getting rid of the power lines and so on. But I also know that you gotta have things that you can replace the power lines with the skies. No problem. A lot of this texture in the siding is no problem. But when you get over here and you've got a telephone pole that's actually blocking windows , that's a little bit more of a problem. So the first thing I did is I shoot the shot that's got the best angle for the overall photograph, and that's my base image for the most part. Then I also photographed Ah, second image where I moved the camera about 10 feet to the left. In fact, I moved it to the left until I had space in. Here's want to blow this up and show it to you. Okay, On the previous photograph, the telephone poll was blocking this part of the window. And so for me to paced in these edges, I needed an image that I could actually draw upon, for the most part, at least to keep it believable. Now this is the edge of the brick, so it's really not that tough to do. But if I had had the metal frame showing, then it's a little bit more of a challenge. So I moved to the left about 10 feet, where I then captured an image with the power pole in a different position, and that allowed me to have something to clone from in my compositing of the images. I'm gonna close that image out now, so we're back here to our base image again. On here, you can see the telephone poles blocking the end of the window. So recreating that from scratch is a little bit challenging. And here you've got an edge which is hiding the edge of the window. And here you got a tree in front. So it just made sense to go to the left about 10 feet and shoot This s O that I had the edge of the window. OK, so that's my base image. So there's a couple tools I'm going to use here to really clean this up. One is right Here is the spot healing brush. I use that a lot. I also use the patch tool for some of it and I use the rubber stamp and I cant tell you they use one over the other any more than anything else. But I use them all because some of them work perfect for some aspects while it other one doesn't. So let's take a look at how you get started here. I always just start with the sky. So if I just grab the patch tool here and grab this and just drag it up and let it render well, I pretty well cleaned it up. But it does a lot of this here. I don't know what you call that. I'll call it ghosting, So I'm gonna control, drink. See that? And I'm also going to de select the patch tool. I'm gonna go back to the spot healing brush. Let's blow it up just a little bit bigger here, okay? And actually, I work much, much closer to the action here, as you can see here. Okay, Back to the spot. Healing brush. And I'm gonna reduce the size here a little bit. And then I just start drawn along the line. And that, to me, works perfectly. No, if ands or buts, it works. Great. Let's go over here and kind of running along there. And as you can see, that works fabulous. So that's one tool that I use to eliminate what's in the sky. So I'm reducing the size here, and we're good over here and go back to the spot healing brush. Let's see how it works here. Okay. See, it does some weird stuff, so that's not gonna work. So what I'll do is come in, see, it's duplicating and stuff. So we're going to go back here. I'm gonna try the patch tool in small increments. See how we get there we go. That's working a little bit better. The other thing is the rubber stamp tool. I think also called The clone stamp now works very, very well. And so you sample from an area and then go in and do this, Okay, It will start duplicating again, so you have to do it in short amounts. But for the most part, I'm just going through and kind of eliminating this on a re sample. Appear okay, so you can get rid of the power lines this way as well, by just duplicating an area real close to what you want to replace and running it. So I won't spend the whole time here doing that. But that's exactly how I clean up the sky and give you the power lines. So I do that first. That leaves me to this image now which, as you can see, all the power lines are gone. The sky looks good, but you can come over here and see power lines over here indicating I got some work to do. Let's go back here. I would then use the various three tools until I get right down here to the roof line and try to get that as clean as possible. So now we're going to go over here where have made a lot of progress and let's go in and look at the power pole here. Okay? So as you can see my layers here, I'll duplicate the background multiple times on the same image as I make some progress that will duplicate that background and continue to make more progress in retouching. If I make a mistake, it can always go back. And I haven't lost everything. Now, course, Doing a save as changing the name also works. So whatever your workflow, however your workflow works best. Okay, so here I went in, Here's the before in here. See, after and I used a combination of the, um, clone stamp and the patch tool and very, very carefully, you have to go win and match these edges so that what should be under it and it's not showing is actually there. So one way to do that is to come in here and let's go to our background layer here and use the, um, marquee tool, and I come in and do this. And then I copy and paste to a new layer. Okay, so the marching ants went away. I'm gonna use the move tool right here. And that piece that I just duplicated is sitting there, and I just drag it across there. And now you would never know that anything had been in the way to do the screen recordings . I got to make the image a little bit low on resolution, and that's why it looks a little pixelated, But the I want to give you the idea here. Okay? Instead, now I'm going to go to the polygonal lasso tool. Set a point. Come up here. Set another point. Come down into the white set a point. Said a point. Try to make a nice square. Okay, Now, once again, I'm going to do the sea control. See? Copy, control the paste, and, as you can see it pasted that into a new layer. Control Sief Copy control V for paste. There's my layer three now back to the move tool. And I just slowly start moving it and then used the up and down arrow keys to fine tune it . Now, as you can see it's starting to change shape as it's going, so I can't go real far to the right before the perspective of what I just copied and patched or pasted begins to. I need a different perspective correction for it to fall into place. All right, so that's how you do that. I'm gonna go ahead and drop those out, get rid of that section of the powerful. But that's what basically I did is I patched in another place for this layer here. And then I also used the, um, spot healing brush. And I went over. Let's go ahead and do that spot healing brush, go back and find the way I got rid of the power lines that were right next to it is there we go. See how I just got rid of these. The line in the brick. That's how I got rid of the power lines up there. Okay, so the next thing I did was I went to that other image where I then get over here. I copied the edge of that window from that other image, and I pasted it over the telephone pole. See, it was an entire image to get rid of that. And that's how I got the pole out of the window is I brought the window in from the other photograph where I stepped 10 feet to the side. Okay, now the next thing right there. Okay, so the next thing I did to continue to continue to get rid of the telephone pole is use this tool again, coming in as close as I can. Clone and area. Right next to what? I want a copy and paste. Try to make it on Leah hair. Bigger than what you're actually going to be doing. Control, CB. All right, use the move tool and slide that in over. Okay. And when you're working in high resolution, you'll be able to match the lines between the bricks and stuff like that. But that's basically how I got rid of that. Okay, so throw that away. We want to the next image, and a lot of it's been done. Um, I want to show you over here or the telephone pole. Waas. Let's see. That might be back here. Uh, no, that would be this one. Okay, where the telephone pole was and I brought in the other image we had to actually duplicate . Let me take a look here. Okay, so there is the telephone pole. So what I did is I cloned an area right next over here, and that's what it looks like. And then, using the move tool, I moved it over the base of the telephone pole. This bush is a little bit too perfect, but that's how I replace the base of it. Okay, then, going back to that other image, I copied the window from that other image and pasted on top of the telephone pole. There you go. Okay. And then I cloned an area out of here and I pasted it over the top part of the telephone pole. And that's how I got rid of the telephone pole in another image. I then went in and cloned grass from the brighter area to get rid of the shadow that went across here. So there you go. That's how we're getting rid of the telephone pole and the power lines. And I will say there was a lot of clean up in these windows from power lines reflecting him and, um in them and stuff like that. So Okay, now we're gonna move on here, and I'm gonna show you how I got rid of the power line going across the wood. Now, the way that I get rid of the power line and the texture of the citing and make that all matches the same technique I've been doing, I'm using the lasso tool coming in, going crossed and staying out of the seams between the sighting. Okay, Now, the reason I'm doing it into the white is that's a very easy area to blend. There's dark, shadowy areas here where the white trim matches a sighting, and that's a little harder to duplicate. So I'm not doing that. We're gonna go see C V. All right, the move tool. And here I'm just going to use the arrow keys and bring it down that way. All right, Now what I'm doing is want to make sure that the lines between the siding actually match and there they match. Okay, so let's see here. There we go. Now, what I would end up doing once I get done with all of this is I would go back in and I would blow this up really big and clean up these edges here by duplicating some of the white to fill in these pixels right here. So it looks like a nice, clean transition. So as you can see, quite a bit of work to get this image. Ah, and all the debris and stuff cleaned up. But it's mostly eliminating certain areas with the, um, spot healing brush or the clone stamp and then cloning other areas to come in here. If you find that you've copied some citing say from here to go over and it just doesn't quite match the lines are a little skewed. Then you're gonna want to use the transform tool to just the shape of the patch that you're placing over so that it lines do matchup. And here again, I cleaned up all the windows and everything. All right, And so here we are. I've copied all the sighting. Now I just got to clean up the windows and what I would do in this case is come in and copy , Select a square of the window and just drag it down over. Okay, then the same thing with some blue here, drag it down, over if you got a good, clean area like this. You can copy all the way across and drag it down to cover, and it should look OK, You just have to make sure the perspective matches and I usually find I have a lot of difficulties going that far away from what? I want a copy because perspective changes. Okay, so here is the final image. And what we did is, um I went in and I skewed it using the lens correction tool to make the edges square. Then the next thing I did was the sky was a little too white, so I added a grade aided blue sky to it. The way that I did that is I took my elliptical mark, or I'm sorry, the polygonal lasso tool and I went around the edges here, and I made a selection all the way. I select the sky basically, and this is what it looks like. Okay. And, um then I came back in, and once I have that selection active, if you hit the layer mask button here, it gives you this mask right here. Okay, then I did that on a duplicate layer of the base. So here is the base image. Then here's the duplicate image, and I'm gonna deactivate this mask. What I did was I used ah selected the blue over here using the color picker tool right here that made my foreground color the same as the blue sky over here. See, there's the blue sky that I sampled, Okay, that made it my foreground color. Then I go when I used the, um, Grady int tool and I created a Grady int coming down. As you can see, the Grady int spilling into the building and the trim here. So that's why I mast it first so that the Grady int states Onley in this area of the mask. And there you go. That's how you re touch a really complex building. Those are the main tools, and it is very time intensive. But all the tools are there for you to do it. Just remember, when you go out to shoot, assume your client's gonna ask you to get rid of the power lines and start looking for big obstructions like power poles in front of the windows so that you can move to one side and get as in this case, the edges of those windows right there. You can get a clean view of them that you can then copy and paste into your base image, So give it a try. 10. The Architecture Magazine Assignment: hi and welcome back then. I'm gonna talk a little bit here about shooting for magazines, and as I've said throughout this course, you might be taken it specifically to learn about doing real estate photography. But I encourage you to continue to look bigger and farther for more adventurous types of assignments as well as higher paying ones. Which is one of the reasons I always talk about architects and builders because they're gonna pay more money in many cases. So there are a lot of magazines that deal with architecture photography, like architecture, Died Dressed and Home magazine. And I think there's one called House and so on. And even in local communities, like a major metropolitan area, there might be a magazine that deals with local homebuilding or homes and style in that country. So, you know, there's all kinds of stuff you're gonna have to look for those. But one of the magazines that I did a lot of assignments for is Sunset magazine, And if you're on the West Coast, you'll probably West Coast of the United States, that is, you're probably familiar with the magazine. They do a lot of architecture, photography that really is incorporated into stories on travel and home and gardening. And that kind of stuff every single issues got something about home decorating your house and your yard and all gardening and so on. So these airworthy assignments to go after a swell. So what I'm gonna show you now is just one assignment again. This is one of the reasons that I keep suggesting you need to be very versatile is a photographer because you may be asked to do things that go beyond simple exterior and interior photography. So if you get an assignment like this one I did here, which was going up and photographing a lodge that was being remodeled and because of a new owner, the cabins were being remodeled, and Sunset Magazine, slated to run this at a specific time of the year, asked me to go shoot it. I had to go shoot it within 10 days and get them the images as fast as I possibly could. And so gladly I went to go do it. But one of the things that happened when I got there was Lodge was not done being under construction. I mean, there was still plastic on the floor. 1/2 inch of dirt on the floor in the lodge, scaffolding all over, dust in the air, contractors running around like crazy. I couldn't shoot the lodge, so I e mailed the photo editor and I said, I can't do this. Can we wait about two weeks? He said. Absolutely not. Shoot it to get a shot. Whatever you got to do, get some shots. So I went ahead and did that. I did the exterior, the outside of the lodge, which wasn't in too bad a shape. It was inside. That was bad. And it's really unfortunate because it was very spectacular in there, but I didn't shoot it. So I don't have anything to show you. When we started here with this cabin interior, and I basically chose this angle because it showed the upstairs that showed the bedroom and it showed the dining in the living room areas Well, so here's how I lit it Basically, over on the left side, which you cannot see is a big window, and I put a stroke outside. So if you look at the floor by the coffee table, you can see kind of that fake sunlight coming in through the window. I do like doing that. If I think it's gonna fit, then right behind the camera on the right is another umbrella that's kind of brightening up the foreground a little bit. On the right side as well is the kitchen, which you cannot see another umbrella coming from there that is kind of shooting across the room. So if you look at the chair with a little footstool in it, that's against the wall. You'll see some highlights coming from that umbrella, and shadows are always telling where the light is coming from. And then 1/4 light is in the bedroom just bounced into a corner, and you can barely see some of the highlights from that upon the ceiling there. And that tells you that there was some light in there. And finally, the fifth light is upstairs and kind of just brightening up that area. There. Another umbrella. If you look closely, you can see a hot spot through the railing on the wall there. I didn't worry about that too much, but you can also see a shadow kind of in the middle of the picture. Near that upstairs window that's created by the umbrella. So once again, this is just kind of telling you that there's lights everywhere and it gives you an idea of where they're coming from. Now, is this a perfect photo? No, it's not. If I had been able to do this and gotten paid for doing it digitally and really working it , I could come up with something, you know, much more dynamic than this. But the client was happening. They run in the magazine. So in the most part, that's what matters. So the other thing is, of course, they wanted lots of stuff shot outside. And as a result, this image here shows the entryway to the restaurant and the boat docks and that sort of thing, because there was flowers out, I decided to use that as a foreground. But now, if you look closely at this image, see if you can see anything that I might have done to improve the photograph. And I'm sorry. I'm not gonna wait very long for your answer. But if you look at the subtle lake resort and Marina, sign with this. Ah, I don't know what you call this little rough over the sign Gateway, the gate entering. You can see that I used a flash to brighten it up because that was totally in shade and very dark and unreadable. So over on the right, I put a flash on a light stand, and I basically lit that sign up so that it was nice and clear, very important to see those subtle little things, because you're going to be, I guess, graded by your client based on how effective your photography really is. Now here's another image, and this is not an architecture shot. This is a travel photo, but that's what this Simon is. It's a travel assignment with some architecture in it. So I went down to the boat dock and these boats were laying here, and I thought, That is a perfect four grand leading to the restaurant in the background. So I shot that, and it only took a couple minutes. Then I went into the restaurant, and again, I'm looking for angles. But again, this type of photography, when it comes to interior photography, is not cut and dried like it is with shooting homes and commercial, where all the verticals got to be perfect. Your down your cameras at chest height. You know you're adding lights all over the place, that kind of thing, not necessarily the case. They want to see what makes this place really cool. And one of the first things I spotted was the buffalo head hanging on the wall. So I chose this angle on standing on some stairs, and I'm kind of looking down, and I then later went in, and I did correct for the verticals because it was distorted with my wide angle lens. So the first light that I set up was on the left side of the camera with a large umbrella, and it's pointed at the restaurant in the background. Now, if you want to see how that lights positioned or proof that that there's a light there, look at the first column holding up the upstairs. There's a table right behind it. You see a shadow coming for my umbrella. Okay, these air little telltale signs that I always used to figure out how other photographers were doing their lighting, and it's a great way to learn. So I added another light that was next to the first light, but it was pointed at the Buffalo and the bar here, Down in the foreground, another light was with a small umbrella was placed behind the bar and pointing out towards the lobby and then for the restaurant, which in the back I had three umbrellas on the right side, all pointing from the right side to the left side to light up the inside of the restaurant . And if you look back there closely, you can see some highlights on the tablecloths and that sort of thing. But if you look at the table cloth that's totally on the right back there, you can see it's a little hotter than the other ones. So again, an indication that additional light was back there. Okay, on this next commercial space, this was photographed for an education company, and this was going to go in a brochure. I believe it was a technical school, and so I went in and I buy. First test was for the ambient exposure, making sure that the fixtures were and the windows were not gonna blow out, then added lights to basically fill in the darker areas. Those lights, of course, were filtered or jelled to match the ambient light so that the color stayed the same in the way that I did that was on the right side are two strobes with umbrellas pointed at the windows and then another umbrella is just right of the camera, and this acts is a fill light. If you look at the furniture right in the foreground, you can see some very subtle highlights coming from the strobes. Back in the office, I added one more umbrella, which was on the left side behind the door so you couldn't see it. And it's hitting the gentleman sitting at the desk. So now I am okay with this picture because this eyes exactly what the client wanted. What I'm not really very happy with is thes two chairs in the foreground. So again, here I am admitting mistake. I don't like these at all because they're not symmetrical. They're not centered. The camera's not centered. If I could have, I would have moved left and then had those chairs fill the frame a little bit more in the foreground. But there was a giant palm right on the left that would have required about three people to pick it up and move it and those three people weren't there. Well, there's three people there. But I wasn't gonna ask the client in the background to help move it. So ended up shooting this. That's probably really the only thing I dislike about the photograph. And as a teacher, I'm here to admit it. So okay, that's it for this video. Let's go ahead and move on to the next one.