Real Estate Photography. Shoot & Retouch like a PRO. | Charly Simon Photo | Skillshare

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Real Estate Photography. Shoot & Retouch like a PRO.

teacher avatar Charly Simon Photo

Watch this class and thousands more

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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

    • 1.

      Trailer Masterclass


    • 2.

      Basic Concepts


    • 3.

      Equipment Basics


    • 4.

      How to Shoot a Bedroom


    • 5.

      How to Shoot The View


    • 6.

      How to Shoot The Cinema Room


    • 7.

      Shooting The Golden Hour


    • 8.

      Blue Hour Money Shot


    • 9.

      Bedroom Retouching


    • 10.

      Exterior View Retouching


    • 11.

      Cinema Room Retouching


    • 12.

      Golden Hour Retouching


    • 13.

      Blue Hour Retouching


    • 14.

      Blue Hour Extra Tips


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About This Class

Do you want to become a Real Estate Photographer? These days it is the quickest way to start charging for your photography.

In this class, I will help you understand the basics of Real Estate Photography so you can start shooting and retouching amazing properties and start charging for your work. I will share with you the way we do things so you can start having fun with your photos and make a living with them!

Have fun and let me know how it goes!

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Level: Beginner

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1. Trailer Masterclass: I'm Charlie Simon and this as my real estate photography class. 2. Basic Concepts: All right, but before we start shooting, we need to understand how a camera works. So we need to learn three things, ISO, shutter speed and aperture. Let me explain to you how easy those three things are. First thing, you get the ISO. Why is the ISO important as the sensitivity of the light in the camera? Okay, so let's make this very simple. Every time you're shooting on a tripod, you're gonna go to the lowest ISO possible. Why? Because if you use a high ISO sensitivity value, the pictures are going to be really grainy and the result you're not going to like. So tripod, low ISO, that simple. So in this case, my camera, the lowest ISO setting a 64. So let's go ahead and put that to 64. Alright, so the next thing you need to learn, its aperture. Aperture is the size of the hole in the lens and the camera. So it takes care of how much light goes into the camera, into the sensor of the camera. Real estate architecture usually needs a very, very long depth of field. That means that you need to have everything in focus. So the lower the number, the bigger the hole in the lens, so the more light you gonna get them, the sensor. In this case, we're going to go to a middle value, let's say something like F9. So the F value is at nine. That means that you're gonna get a very decent depth of field. You're gonna get everything in focus, but you're not gonna get any weird artifacts if we go to FAT in F22, f 22. So I recommend going to F9 every time you've been shooting real estate. So the last thing you need to learn, the shutter speed in front of the camera sensor. There's a shutter. The longer the shutter is open, the more light you get into the camera. This shorted opens, the less light you get into the camera. In real estate, that shutter speed is going to vary depending on the light conditions, depending on the time of the day and depending on the size of the room, even though it's just two more things you need to know before we start shooting. White balance and shooting mode. Really simple, since you're going to be shooting in RAW. So we get the most out of the images you need to be shooting with a white balance. In our automatic auto white balance, that's going to be really simple to find in your camera settings. And the last thing you need to know before you start shooting is the shooting mode in the camera. You're gonna set it to a two or five seconds timer. Why is this? Because the legislature camera where you're shooting, the better. You're not gonna get any shake and you're not gonna get any movement or a blurry photo. We don't want that. So make sure you set your camera to a timer. So remember, ISO, with a tripod at the lowest possible value of your camera, aperture, the F value, you're going to set it at nine. And the speed is going to vary depending on the conditions of a shooting timer, shooting mode, and automatic white balance. So now that we know these things, Let's start shooting. We're going to shoot a fantastic bedroom now, come with me. Let's get started. 3. Equipment Basics: All right, so I'm going to tell you where you need to shoot amazing, realistic photos, really simple. You're going to need three things. A camera could be a DSLR or mirrorless camera. I real estate lens. I get to that in a minute and a super nice tripod. So I'm going to run you through my equipment, but it doesn't matter what kind of equipment you have. You can make real estate photos with everything you're going to learn today. So the first thing is my camera. It's a Nikon D85 high. It's very, very special camera. It's an icon stop on the line. So go ahead if you want and get one yourself. It's very, very good value for the price you're paying. So I would definitely recommend by Nikon, you're gonna get Real Estate Legends, which is the Niko AFS, 14 to 24 millimeters to 0.8. It's the professional series of Nikon. And this for me is the best lands in the market. There's many, many lessons out there that you can buy, but this one for me is the best. And I am Manfrotto guy. So if you want a real estate tripod that it's going to hold the camera, get a Manfrotto tripod. There's a link to all the products that I'm using down here, my description. So feel free to check it out if you're interested. 4. How to Shoot a Bedroom: So we're in this amazing rumors I tell you before where in one of the best houses in my layer. And we are so lucky that we get to take some photos today. So first thing first, before we start shooting a room, we need to make sure we have the right angle. How do we do that? Walk around the room and you see what the best things around the room are, including the bit, because the bed is usually the most important part of room apart from the views. So take a look around and we finally decided to come this way. Why do we come this way? You're going to see in the photo and the minute you get the views and you get the full size bedroom, a few things before you start shooting a room like this, you need to understand where the view is. Me personally usually go where the best view the room is. Because we all understand that in a big house like this, they're all going to have rooms, they're going to have bedrooms. So we go for the best view of the room. Once we're in the best view of the room, we make sure we get the most out of the room that we can. All right, so let's talk about the tripod. Which height should the tripod? We're really simple. Just tell your waistline as a reference and put the tripod like that. Perfect. So see waistline more or less. You get a tripod at this height. Why is this important? Because the closer you are to the further bigger the room looks. So don't go too low, don't go too high. Just waistline as a reference. And let's go from there. So now we decided we're going to shoot the room from this place right here. So make sure you get as close to the wall as possible. In this case, we're going to do it like this. Make sure you work with a tripod legs to get the maximum angle possible. Now that I'm close to here, just turn the camera towards where you want to shoot. And now we can see the whole room. All right, so now we come to probably the most important part about shooting, real estate, leveling the camera. Why is this important? Because so many times I see pictures of photographers are amateur photography. In the room is tilted, it's falling down, it's falling apart. It says disaster. So you wanna make sure your photos are so leveled. Even that little changing leveling is going to make your photos so amazing. So let me show you how we live with my camera. Alright, so my camera's now set up. Let's go to the parameters we learned at the beginning. The aperture is set at nine F9. The ISO is the lowest value possible because we're shooting on a tripod, so that's 64, in my case, 100 for another camera and the shutter speed. But before we go into shutter speed, Let's talk to you about bracketing. So when we speak about bracketing, it means that we're going to many different exposures and then we're going to blend them together afterwards. In post-production, usually a camera shoots from 3 to 5 to 7 automatic brackets. There were usually like to do it is shooting five different exposures, not three, not seven, but five. I think that gives me enough information to take an amazing picture. Let me show you how it is. So once you have your bracketing in your camera, you can set different exposures. In my case, we have five, you can have three, you can have seven. Make sure you got one-stop at least between the pictures now where you can get the most information out of it. So my cameras set up, my angle, set up my tripod is setup so we can shoot. But hey, take a look at that. But here's where we come into Home Staging. I see a lot of pictures in MLS and websites and everything. And hey, you cannot present a room like that, especially in a very, very exclusive villa like this one. So here's when we talk about home staging, it's really important to show a property at his best. I'm really lucky to have an interior designer that works with us full-time. I understand. Not everybody has that. So take two minutes before you start shooting and get the room ready. Let me show you some examples. Alright, so after the amazing job our interior designer has done, we have everything ready. Yeah, my cameras set up. I got my aperture or F9, I got my ISO or 64. I got my bracketing set up as well and got the tripod I waistline. I got everything ready, beds, ready, rooms ready. So let me show you how it looks. Alright, so now this room is looking nice and ready. Let's go to the next one. 5. How to Shoot The View: All right, so take a look. We are this amazing property, amazing views, this paradox here, Maria. So I'm going to show you how to shoot the views from the villa. That's one of the most important points when somebody's going to buy a villa and real estate photography, we need to create that emotion. So we're going to create a photo today. There's going to show you the whole view of the property. As you can see, we have the swimming pool. We have an amazing golf course over there. And then you can see the ocean views. So what do we do in this case, the house is very symmetrical. So what do we do? We set the camera in the center of the swimming pool. Believe it or not, symmetry gives you a special feeling. It gives us tranquility. It gives you peace. So unrealistic photography, especially when you're talking about the views, we're going to look for symmetry. Symmetry gives you a special feeling, feeling of peace and tranquility. So always try to look for that. In this case, we find the swimming pool. We said the camera right in the middle of it. All right. So in other words, set up, we'll go back to the settings. We got an aperture, our F value, we got it at nine. We got an ISO. Guess what? We're on a tripod. So always on the lowest value possible, which is 64, in my case, 100 for most of you guys. And then we've got our shutter speed, in this case, in the shatter meter and the camera. As you can see here, we're going to put it really, really close to 0. Always go around 0 when you're in exterior shots. Something really important as well is to make sure your cameras still at the timer shooting mode. Why? Because like today, there's a little breeze going on, so we don't want any movement or shaken in your camera, wouldn't want any blurry shots. So make sure you put the timer mode on the camera before you start shooting. All right, so let's summarize everything. I've got the tripod a little bit higher so we don't get the glass. We've got the scene in the center of the puzzle. We get that symmetry. We talked about. We got our F-value and 9, we got an ISO a 64 because we're shooting on a tripod. And the speed, the shutter meter is going to tell you. So close to 0, in this case, 1 400th of a second. Really simple. Perfect. So we got the scene ready. Let's get on to the next one. 6. How to Shoot The Cinema Room: All right. So we are at the most fun part of the property, the cinema room. These kind of properties, we are so lucky to have scenarios like this or you can enjoy movies with your friends. And it's just so much fun. So I'm going to show you how to take pictures of these amazing area. Okay? So we chose this angle on the cinema room. Why? Reasons? And that's I cannot see the door, which means you have more space. And if we were to shoot from the other side, you would see all the lights here or the preparations or the DVD or the stuff. So we don't want to see that. We just want to feel the emotion of actually watching a movie at your own home. So choose the corner where you can see the chairs and the screen in front. Let me show you. Okay, so let's get the settings right for this one. Remember it shooting on a tripod. So as you can see here, the ISO is set to 500. We don't need to set it to 500, even though it's a very dark scene, we put it at the lowest value possible. Remember, every time you shooting on a tripod, you go as low as you can on the ASR. So let's set that up at 64. All right, so now we got the ISO set at 64, which is the lowest value possible in my camera, could be a 104 years. Let's go to the aperture. We're going to use the same aperture we're going to use in the whole house, F9. Why? Because we want a middle depth of field with everything in focus and not too bright. Last thing we need to worry about is the shutter speed. It's a very dark environment. So make sure you go as high as you need. For that. You use the exposure meter that will tell you everything you need to know. Let's get close to 0. Let me show you. So as you can see, I'm moving the shutter speed and nothing happens to the exposure meter. Just keep going. Remember it's a very dark environment. We can go and we keep going. You see now is starting to move 203 seconds, four seconds, five seconds, six seconds, eight seconds, ten seconds, 13 seconds, 15 seconds. F9, ISO 64. Do not be afraid of using a very, very slow shutter speed, urine a tripod, you're not going to touch the camera. You have your photoshoot mode in timer, the camera is not going to shake, so feel free to go as low as you need. So we got the settings right, we got ISO 64, we got the F9, and we got a shutter speed of 15 seconds. Again, do not be afraid to go as low as you need the shop. Alright, so we have a very beautiful shot, very moody, very relaxing sharp. And I will show you later in postproduction in Lightroom how you can set a movie image. Because remember, every time you shooting a cinema, do it with nothing on the screen that way you can put any image, any movie you want in post-production. So that was really cool. I mean, I wish I had a cinema room like this and my place. So stay tuned for the next chapter. 7. Shooting The Golden Hour: Alright, so golden hour is here. What is the golden hour? You know, it's around 30 to 35 minutes before the sun sets in the horizon. This is when you get the best views of landscapes. And in this case, you're gonna get the best views from the house. Let me show you how we do it. So when we're shooting golden hour, in my case, I like to underexpose my photos. That means that your exposure meter is going to be a little bit below 0. Why is this? When your retouching a photo, you're going to get better details in the sky if you under explosive order, let me show you how we do it. So we have the aperture are F9. We have our ISO at the lowest value because we're shooting from a tripod. And then we go to the shutter speed. In this case, like I said, I want to underexpose the photo a little bit. So let me take the exposure meter and then you're gonna get us close to 0 as possible. Okay? Here we have it. It's one stop underexposed is 100th of a second. Let me see how it looks. Perfect. So it's a little bit underexposed. And let me show you how we would touch them. 8. Blue Hour Money Shot: All right. So we come to the last part of the shooting, which is the blue hour. This for me, it's my favorite type of photography and that's when the house look its best. And night, dusk, 12, 14 minutes after the sunset and the horizon. It looks just amazing. Let me show you how it is. All right, so let's get the camera ready for this amazing photo. As you can see, the houses very symmetric once again. So we want to make sure we position the camera in the center of the property. So we go ahead and get our leveling tool. Here it is. So you can see the lines are right in the center of the property. There you go. We got our horizontal line perfectly align and don't forget about the tilt. This is very important. Perfect. You see how everything is green. Now the houses in the center, the cameras in the center. And it's very symmetric, very powerful, very emotional. So the last thing we need before shooting is to set the camera parameters right? Again, our aperture, we're going to set at nine since we get everything in focus, our ISO, believe it or not, it's going to be a dark scene by we're shooting on a tripod. So remember every time we're shooting on a tripod, the ISO is going to be at the lowest value possible. Now the shutter speed, It's getting dark. But once again, like the golden hour I liked my photos are a little bit underexposed so we can get the best use out of it after impress production. Let me show you how it is. So in this case, we wouldn't be as close to 0 as possible in the exposure meter. So we go down, we go down, we go down, we go lower in the speed, as you can see, we're down to 1 second now, 1.31.6 plus 2 second exposure. As I said, I like my photos are a little bit underexposed, especially when we shooting, I blew our. So let's get down to 1 third of a second. There you go. Go ahead and shoot it. Perfect. As you can see, the houses a little bit dark. But then we'll fix that in postproduction when I can achieve this way, It's all the lights on the front lights and the backlight. We still get some detail. The other way if you overexposed photo, especially a do our you'd get I get no information whatsoever. So once again, don't forget to underexpose your blue our photos just a little bit, just go one stop before 0. So your photos look amazing in post-production. Let me show you how we reattach the blue our photo. So let me give you one last tip. In houses like this where you have a very big swimming pool in front of the house. Make sure you get the camera as close to the water as possible. This way, the swimming pool is going to look a little bit bigger and it's going to give a feeling of an infinity pool in case you're wondering, let me tell you a little bit about today's like we had a little electricity problem today at the house. So as you can see, the swimming pool is not working and the front facade lysate not working in the ground floor. So we're going to fix that in post production. Let me show you how it's done. 9. Bedroom Retouching: All right. So we have guest bedroom of the house. As you can see, I mean, it is an amazing bedroom, but you can use this technique in every bedroom you want, any house you want, with any angle you want. Okay. So let's get to it. So as you can see, we have here 12345 different exposures of the same picture as I showed you in the video and the previous video. When we were at the house. This is called the bracketing mode. Okay, So what you do is you take five different exposures, as I explained on the video. In this way, you get very bright photo, less bright, less bright, less bright, and less bright. As you can see in this photo, you have all the details on the outside. And as you can see on this photo, for example, you have all the details on the inside. So that's the idea and then we're going to blend them together. So how do we do that? What's actually with the technology that we have nowadays is pretty simple. But I'm going to take you through it step-by-step. Okay. So first things first, we don't touch anything. We select the five pictures, five different exposures. As you can see, I select them with one star and all red, just for me to organize it. You don't have to do that. And then you rank ligand any of them. And then you click export, and then you find Aurora HDR 2019. Our HDR 2019 for me is the best HDR blending software in the market. So make sure you go to their website to get a copy in. It's really, really, really impressive. So I mean, that's the one I use, that's the one that all the best use. So I think it's really, really good for the money. So go ahead and download a copy and you will not be disappointed. So anyways, you click on Export and you go to edit a copy with Lightroom adjustments. Since we didn't do anything to a file, just go click. And the HDR around 2019 engine is going to open for you. As you can see, you have the bar, the progress bar, it's going to open. Do we need a new version? Remind me later, I will definitely download it. And here you go. You see you have the five exposures. It's four stops to stops, neutral, two stops and four stops. And the program does not for you. You don't have to do anything. You don't have to outer line as well because you'd shoot on a tripod. So just go to create HDR. Really simple. And you see here how it's doing it for you. Final touches to make it awesome and thus make it awesome. It's pretty impressive piece of wire here and that we've been using for 45 years now. So make sure you get a copy envoy or law. Look it up. I mean, we haven't done anything to the photos. Okay. And look at the details and look at everything. I mean, it's very, very, very impressive. They have a preset here that you can create. You can play with this. I can click it. And it gives a moral myfile. I mean, it's just adding a little bit of down with the blacks and just taking a little bit of contrast. Let me nothing really. But for the sake of the video, we're just going to Command Z and undo it and hit it plain. So look at that, look at the result without touching the photo. Again, you can play with this, all you want. This leg library ones you can see you have all this lighters and everything. We're going to go straight. We're going to go straight back to Lightroom and we're going to retest their final thing is in light room, just so you don't have to learn a new software today. All right, so when you have this, just go on applying up here, applying. And it's gonna get it back to Lightroom for you. There it is, as you can see. And you have all the details outside. You have all the details inside. And now we can start doing the della processing, which I want to call it, but we don't want to do too much though. I mean, take a look. Everything is almost perfect. But you see here, you see the profile thing. It's distorting a little bit. So I just go to Lens Correction and you go to the Enable Profile Corrections. All straight. Perfect. Hdr tends to give you a little bit of a fringe of aberration. So just go here and remove chromatic aberration. Oh, take this out. It went away. How magic? Perfect. So now, I mean, you only have to play with a little sliders to make it to your liking. In this case, I think it's a little bit too contrasty. So you go down with the contrast just a little bit. Let's go to 25 negative to make it a more naturally look. The highlights and the shadows I wouldn't touch at all because I mean, as you can see, we can do it again if you want within that's going to look a little bit weird. And with the highlights, same thing. I mean, we have plenty highlights. If anything, I were actually pump up the highlights a bit. Perfect. And I would definitely take up the exposure just a bit to make it look super nice. Okay, There you go. You go the whites, I wouldn't touch the blind sight went in touch at all. Really, really simple. I would crop it up in though. Let's try and crop the image just to make it more panoramic. We don't want to see that much ceilings, so yeah, definitely much better. You go to 1609. And it's perfect. Myself. I want to see the images are a little bit warmer because when we shoot a house, we don't want to make it feel like a house. We want to make it feel like a home. So just go ahead and bump up the yellows a little bit. Maybe just go two to three. Yeah, something like that. I mean, that's to your to your preference, but I like it like this. Okay, there you go. It's not too straight the image. Let's just try with the transform option with the outer. The outer does a really, really good job. As you can see, the lines are almost perfect. Yeah, Perfect. So just go auto. Remember if you don't like it like this, you can always go to the guided tool and then just take your lines. Actually let me do it so you can see how we do it in a bedroom, okay, the bedrooms need to be super straight. So remember, take a line here for the vertical. We don't have a line for the vertical here. Well, what are you going to do? Just take the closest one possible and have this one here. Okay, So you'd take this one. Then you go all the way down. See now it's a little more straight. And usually we would take the ocean as a reference. We don't see the ocean too much today. Maybe a little bit. Yeah, Here it is. Okay. So you take it as a, as a reference for your horizontal is not going to move too much. Yeah, it's not going to have to match. So just click like this and that's perfect. And I would say that's pretty much it. I mean, you can play with this as much as you want. You can play with the colors. Let's go down with the blue a little bit. 1, 2, 3, 4, so you can see a more blue. And remember when the outside, when we blend HDR, we went to make it look as natural as possible. Okay, So this is supernatural array now, supernatural. We can go down with the greens a little bit. So you get that. And then with the yellows just a little bit. And maybe go to the effects tool and maybe just close the image of it with the vignetting. Just a little bit of vignetting. Yeah, that's perfect. And that's pretty much it guys. I mean, this software, as I said, it does an amazing job blending the HDR, especially for real estate. Or we have a little spot here. Let's see if the spot heal brush takes care of it. Let's see, click. Boo, super nice, perfect. And there's another one here. If you can actually see it. There you go. Perfect. And there's another one here. Oh, my the thing I took my camera cleaning the other day. Perfect. Now, if you want to just give it during daylight, just a little touch, just get a radial filter, go to exposure. Very subtle around 50. And then just start, you know, this is our little touch for us, just giving a little bit of a dodge and burn effect. Not too much though. And click Enter. Let me show you with a radial filter that before and after, before, after. Just give us a little touch. And that's pretty much it, guys. I will give it a three-star and the customer is going to be super happy. The key here, as I said in the video before, is getting the exposure bracketing right. If you get the bracketing right and you have a decent camera with Aurora HDR and 2019, 2020 actually now, you're gonna get an amazing result. So yeah, make sure you guys get a copy of that. It will be in the docs for the course and make sure you get it. I mean, don't think about it. Alright, so let's go to the next one. 10. Exterior View Retouching: All right, So welcome everybody. We are Lightroom's, so we're going to attach this amazing view from nature living in Spain as we showed before. So get ready for something really, really cool. We're going to turn this picture into something really, really, really impressive. Alright, so first things first. And the first things I usually do, it's I cropped my photo and I put my line straight. So, so for that, we're going to go here to the crop tool. And you should have something like this. So in my case, I usually do landscapes and views and outside from the homes and in 1609 see more panoramic. There you go. Perfect. So that's centered. I'm going to actually crop a little bit more. So we get a little bit more on the View. There you go, you crop it, and then you actually center it. Make sure you center. You see here, you can select that as a reference and move it until it's exactly the same. Perfect. So that's my cropping. Hit Enter. There we go. Now, let's get the line straight. So for that we're going to go to the Transform menu. And I get the guided version of it. And then how this works is you have two lines, horizontal lines and vertical. So for this, as you can see, the camera is tilted down a bit. But we're gonna do the horizontals because being straight is really, really important. So you see how you have like a magnifier thing. When you go, you see here you see the whole length. So in this case, I know the swimming pool is perfectly straight to their horizons. So what I do is I click here and you see there's a line coming and then there you go. You go here. And that's about it. Yeah. So that's straight. And then the second leg you're going to pick, you see the horizon here. It's a little bit fuzzy, so we don't want to use that now. So let's use the second line that we have here, which is this one. Okay? So you'll click here. And then you'll CLI. Perfect. You see how everything shifted a bit. Epitaxy, click, enter and Enter again. Now, as you can see, the photo shifted. So you see now we're not in the center anymore, as you can see the mouse. So you recentered the crop once again. You see again the same space here, in the same space here. Perfect. In this case, we're going to unlock the lock and then we're going to expand it a bit here. And then we're going to expand it a bit this way since we have more room to play with bad effect though. All right, so now we've got the microbe of the image. After this, we can start. So let's start. I usually go in order so I go from the basic to the tone curve to the HSL, everything. So let's start from the top into the basic. First things first, always the contrast. I go to the contents all the way up to 50 whenever I am outside. Okay. Perfect. Okay. And then after that, we go highlights all the way down. We go shadows all the way up. You see how here? Here we'll put the shadow so 0, you don't see anything. When we open up the shadows, we see everything. Perfect. Now we get more details of the material. We get more details on the trees. Right after that I usually go to my exposure. As you can see, we go up. And for this, take a look at the histogram up here. So we're gonna go all the way up without burdening the whites. That's my technique. Usually. You can go in. Oops, sorry, I was seeing go like this. Okay. Right now. Perfect. Because we don't burn anything that you go. Fantastic. Now we go to the white points for this. You hold the Option key and you click it and they, you see some kinda white. Yeah, we don't want to see anything. So just to the limit. So something around here plus 20 in this case. Yeah, that's perfect. And then you go to a black points and do the same thing. You hold down the Option key, and then you click it. I see black. We want to see something around probably 10 percent of the photo. I'm black, something like that. So something like this. In this case. Perfect, so it's looking a little bit better now. Hmm, see, we go. That's how we started and that's how we are right now. So remember for the before and after, just press the Y key and it shows you. All right, but the photos not ready yet. So we go to the white balance right now because I went to get a feel of what we're going to have next. So in my case, the outside shots, I usually close to 6500. So you go ahead and punch that value 65, 100 C, and then goes around probably one in pink. These values here you need to understand, it's just a value that gives to them blues, the yellows, the greens on the magentas. I usually like the outside to be a little more warm. And that's just my preference. But again, play with it until you are happy with it. Okay. So again, before and after, he's kinda change into Minho. Okay, Perfect. We got the fantastic. We keep going. Alright, so we go down, we got the texture. In this case, I'm not going to use any texture, maybe just a bit, just five points or texture just so you get a little bit more of the, you know, the marble, of the marble tile going around. Okay. But if you're going to use this tool, just do it locally. I usually recommend doing that same with the clarity me, I outside, I'd rarely do more than five or 10 and clarity. But again, we don't have any class today or very little clouds. You have clouds and you put the clarity very high, it's going to look weird. So just be careful when you're using these tools, okay? Now, in this case we're going to use the tracing tool here. Okay? We know C, the ocean very clearly this day because he was kinda little bit cloudy. So we're going to have the tool to help us out. We go 15 points on the Dehaze. Now you can start to see a little bit of the ocean here. As you can see before and after. Now you see it a bit. Perfect. So we're done with the basic out by the, by the way, the profile usually uses Adobe Color. You can see here if you change it, then it gives you a different feel of it and that's up to you. I usually use Adobe color because we have our presets here. And that's how I usually do it. So yeah, So we got that already and then we keep going down the vibrance and the saturation. I usually take the vibrance and saturation just a bit up, just a bit by points for the vibrance maybe. And the saturation I leave it as is because it's going to look like very, um, very natural for them. All right. All right, so next step, tone curve. I don't usually use the term code at all in real estate, so we're just going to skip that. Hsl. This is very important, okay? This is where your color and your life is going to be. So I usually go to where is it? It's down here. And you see how he selected color. Go to the HSL hue, saturation and luminance. So let's start with the hue. As you can see that the grass wasn't very good here because they had a treatment done like threes, four days before. So let's go ahead and put the yellows update greener. You see how now if you go here and take it off and on, you see how now as yellow, now it's a little bit more green, even though we're going to fix a little bit later. But always the yellow's a little bit more green. If you put the temperature a little bit higher, That's good. And the rest for now it's good. The blue tones I like so that he was going to stay the same. The the aqua color is going to look nice. And we go ahead and go down to the laminins and go all the way down. You see how this is turning blue, blue, blue. Remember when you shoot in real estate and you want to make sure that pictures look the best as possible, especially if somebody is going to be in somewhere in the world that is not sunny. So blue skies is very, very important. As you can see, if you put in 0, That's the sky. Maybe go down to 30. That's this guy. So I wouldn't go less than 30 usually in either way in any of these panels because then the picture starts to look weird. So just make sure you don't go below 30. Okay. And maybe the app while we can lower down a bit just for the swimming pool to be more than a more bluish this way. Perfect, Fantastic. Great. At this point we have most of the photo down. Okay. The thing is that I the exposure went a little bit dark, so just go ahead and get the exposure. Just have it up. There you go. That's perfect. And now it's looking really nice. Remember go press the Y key Lu, how it looked from the camera and looks, how is look I was looking now, few more things to do though. Split toning, we don't usually do it unless it's something very artistic. So just skip that. We go to the detail. We maybe one, maybe we want to print this photo so we want to get a really sharp photo even for the screen. So you go ahead and sharpening, and I usually go with my outside photos to a 100. Perfect. So now it's sharp. As you can see. It's really, really sharp everywhere. Fantastic. Noise reduction depends on the camera that you have, but usually I go at 10, a nice reduction just to have that little silky effect. But I mean, it doesn't really going to make a difference. And night shows, we're gonna see later that you're going to, you're going to have to put a little bit higher. But for the outside shots in the middle of the day, you don't need to touch on. All right? So thus the two only things that you're going to touch into detail, many of the sharpening and noise reduction. Iv, you have a lot of clouds here, which is not the case, but maybe you have them. Make sure you go ahead with the masking. You press down the hole, down the option key, and you go until this guy's all the way black. There you go. You see now the clouds are not going to be sharpened only the sky. So that way you don't have weird things in the sky or anything like that. But that's only if you have clouds. So go ahead and put that to 0. Let's correction really important. Remove chromatic aberration in my case, we will use are really good camera. But if you actually go here, you might be able to see it. You see how there's like a green fringe. And here you see like a leg and magenta fringes. Well, here, here you see, in this case you can see it. So if you click here, it's gone. You see how the fringes are gone. That's really important, especially if you're going to print the photo, okay, Remember, see this now itself. You see this coming up and then you click it and goes away. Just so just make sure you put this on your preset and you make sure that everything, this is on all the time. And we apply that profile correction even though we use a very good lens, There's always courageous to make to the link. So if you click it, Lightroom is going to automatically detect your lens. So in our case it's an acorn from Nikon 14 to 24. You see? So it really fixes the little destruction that could, you could have if you don't see it here, automatically just go to the menu and pick your lens. It's really simple. But make sure these two things are always on when you're editing a photo. In my case, I actually haven't been my Import Presets, so important the photos like I showed you before, you can always have this on by default. Transform we use at the beginning. Remember, really simple. You see all the lines. If you go to rotate, you see how all the lines are perfectly set up. Fantastic. And then you go to effects. And this case I usually go a little bit down for the meeting. So you close down the photo a bit, just the edges. Something really, really simple. And it looks really nice. So really that end grain then you don't need to touch that calibration. You don't need to test this at all. I mean, rating of five is usually going to go to the highest version possible. So just don't touch this at all. Perfect. So we got the photo almost ready. Now, there's two more things you can do to again the photo perfect. First things first, does spots from the camera and you click Spot Removal. And here you see it says visualized spots. There's a few spots here. So you go ahead and click it. And Lightroom takes care of that for you. See it's 23 and maybe this one up here for perfect me carefully. If you have some clouds where the reference takes, you see here is a circle. And then you go another circle, another circle. If you don't like what it does, just move the circle around until you like it. Perfect. So now we don't have any weird things in the sky. You see. Fantastic. So we've got the picture again before and after. Some really cool. I mean, you see a lot of pixels on the websites like looking like this, which is alright, I mean skimp on the camera. But this is going to, this is going to rock right here. Now that I have everything ready, let's go ahead and just touch a bit the white balance because, you know, we've been moving calls and stuff. So I would go a little bit higher on the pink costs for meal. This is a little bit too green. So I would go a little bit higher on the pink. Perfect. And that'll be it. That will be the picture. That's the before and after. And of course, you can go to the next level and fix the grass here. So I really simple way to do that. You get a brush. You go to effect, and you go to tint, which is when the green is going to be. Okay. This is a really simple, really easy way to do. It, is not going to be super perfect. But if you're a beginner, is the easiest way you can do this is again the 10 down to 80. The feather really important. The feather you put a 100 so it's not as visible. And the flow you go around 75 and the density you go around 75. Perfect, besides you control with a scroll wheel on the mouse. Okay. So it's going to paint pretty much in the center. You see asks some lines to it. So pretty much in the center of the circle is going to paint. So go ahead and start painting the grass in green. And it's going to be painting. You see how it's changing colors a bit. There you go. It's looking a bit nicer. There you go. It's looking green and nice. So you go little by little really slow. Keep changing your your brush size if you want. When you go here, you go and you click it. And then you start painting with it until you're satisfied with it. And again, we could change the grass the whole thing, which is what I would do if it was for a magazine. But in this case, it's up to you. It's up to you, you know, you have to take into consideration if the client's paying you for it. If not, then you may have to come maybe you want to come another day to shoot until the aggressors grade, that's up to you. And you can see on an off, see that's before, that's after. It looks a little bit better. So we go ahead and go to the other side with the same rash. So we have the same tone. And we paint away, paint away just a bit. And it's going to look a little bit better. And again, I would definitely change the grass if it was for one of my clients. Maybe you're beginning, just don't worry about that for now. Just paint digress a bit greener and the claim is going to be super happy. And if you don't know how to do that, we're going to have a course unreleased pretty soon about Photoshop removals and stuff like that for real estate. So keep an eye on that. But for now, as you can see, you have the brush off and on. This looks a little bit better. Of course, the grass is not perfect, but that wasn't perfect on the house. So we're always doing the best with what we have. And yes, so you close this brush and I would say that's pretty much it. If you go with the Y key, you hold it down, you press it. That's the before and thus the after. And I would say that's a pretty decent view from a house. That's really, really good picture for this house. All right, so let's go to the next one. 11. Cinema Room Retouching: All right everybody, so we are here with another photo. Now we did this amazing house in Goleta and Spain. So today we're going to reattach one of my favorite parts of the house. It's cinnamon room. I mean, we all wish we had this hand homes, so yeah, so let's get started. The first thing we need to do is make sure that we crop the image right, so we don't do some extra work later. Go ahead to the crop tool. And then as you already know, I lay my images go in 16 minus 9, gives it a more, a panoramic field. In this case is we use a wide-angle lens. I'm just going to crop it from the sites a bit. So we don't we don't have any distortion. And there we go. And just make sure you have your seats. The lower thirds. Upper third on the screen. Yeah, it looks nice like this. There you go. So you hit Enter. Perfect, so that's our base. Okay, so we got the crop and let's get to it, Let's get started. So first thing I do is I take all my highlights. You see how the lights start getting some detail right here. You see how if I bump it up, you don't see any detail. That's a mistake you guys do. Sometimes, just make sure you day down to here, highlights as much as you can. Lose. Weird, I know we'll get to it in a minute. Then you open up your shadows. Sometimes insight. If you got a 100 percent, you start getting some weird things in here. So I recommend just going down to around 75. That's my preference. You see, is when the cinema room is supposed to be dark anyways. So perfect. So we got that already. Let's go to the whites. So you hold down the option key. And you go until you see some white. There. You see the white, you see the blue, and then you take it back just a bit. There you go. That's perfect. And then you go to the blacks. I usually like it like 10 percent of the image black. So you can go something like this. Perfect. That's already. And I go to my contrast. I like my image is very contrasty, so I will go at least 30, 35 and contrast maybe, Yeah, that's good. And then I'm going to my exposure. And that's very important because you see how the lights look, you see. Let's give it a little bit more of a realistic look. So you go up. So you see some detail. Yeah, that's about right. That's about the field I had in the house. If you see you get a little bit of a weird field in the lights. Just go ahead and take up the highlights a bit. All right, that's all the more realistic your zeros see any artifacts around the light and yep, that looks good. Remember before and after you press the Y key, that's what we had before. That's where we have a nicely more detail. You see one of these on the light. You see more detail the ceiling materials. Okay, perfect. So now we like to give it a little bit of more of a texture feel. So yeah, 15 overs extra so you can see the contra feel in the seats. And now it's looking good. I would really go a little bit warmer on the white balance. So you see that tube light, but again, this is very personal, so feel free to play around with your white balance. I usually like my cinema, so a little bit cooler. More magenta, but that's my preference. I mean, you guys go however warm or cold you like perfect saturation. Maybe I'm going to lower it a bit. It's a little bit too blue. Maybe. Yeah, that's perfect. Yeah, that's fantastic. All right. So we got the basics covered. All right. We go now to the colors. Again, you guys are going to be in the house. You guys know what it feels like. For me. It feels a little bit too blue for me. So you go down on the blue a bit. Perfect. Don't go. And remember Dumbo in any of these lighters doesn't go below 20 and 25. There's no going to look real. So just keep it by 2015, some kilogram each side. And maybe the yellow, I'm going to turn in more of an orange, but that's just my preference. Pair. Perfect. Fantastic. Alright, split toning. We're need detail. Remember we always like images very sharp. As you can see, Lightroom bumped up the default value to 40. Men isolines close to a 100. Let's do it. I'm 95. Yeah. So you can see the sharpness in the image. Much, much better, much more professional. Here, as you can see, we shut it. I've ISO 64-bit. Remember, because we're on a tripod, we can always go lowest ISO possible when we are on a tripod at 0.9, F9 and 15-second exposure. Okay, so we shouldn't get too much noise by review. See some noise here. I mean, we're really lucky to have a very powerful cameras, so we don't really see any noise here. But if you have some nice inside of it, we're not having a very professional camera. Just go ahead and take up the nice relation to a five or 10 until you feel comfortable with. Perfect. Remember we need the less correction. Chromatic aberration, too much of it inside, but it's always good to have it. And take it out. Well, what happens when we enabled the profit equation? You see on, off on it gives it a little bit more about distortion correction, which is nice. So we'll leave it like that. And transform. If you have the guides here, you can see this green is very, very, very straight. Maybe we can click an order so you can strain it a little bit, just a bit. Okay, That's perfect. Remember to always shoot very, very leveled with your camera remote to use the level in your camera if you don't have one, used the bubbles in your tripod, okay? Architectural photography is very important for it to be straight. Please take the photos with a superscript camera. Effects. Here I like to always vignette a bit, so I will always go down. So you focus the attention on the center of the image, which is going to be the screen. In this case, I will go around 20. 20 is pretty good. And yeah, that's pretty much what I have in mind for this. But then okay. It's a sitting room, right? So when you're in a cinema room, you would like to have movie on the screen. So let's actually go to Photoshop and I'm going to push the number 12, so I give it one star. So I know I retouched server already and I'm going to right-click edit in Photoshop 2020. This is going to work no matter what version you have in Photoshop. So just make sure you just follow the same steps is going to work is really simple stuff. We're going to put an image on the screen, so check it out. Check it out. Okay, we're in Photoshop right now. And where I always like to do. I mean, because you see how you have some imperfections here and the ceiling down here, maybe some das tiers. I always like to duplicate my layer. So you take it down here and you can replicate it later. Yeah, there you go. And the first thing that I always do in a cinema or any other room, I take a prism, a j, which is my clone tool, stamp tool. What I mean It's called Spot Healing Brush Tool, I'm sorry, Spot Healing Brush Tool. So j and then I make it a little bit bigger. You can use the mouse for that and you can use the bracket keys for that. So yep. And I started just touching them. The image, you see all this imperfections of this little thing is that it's going to distract from the main movie. They go in, I go here and I see all this in a reattach that. Okay, Perfect. I see some some food trucks here. I see some imperfections. Here. You go. And you go. Okay. Perfect. Keep going. And yeah, and you can go crazy with this. You can be here for hours and hours, making all this perfect, bad for the sake of learning, lists, just jump to the next step. Okay, now we have the image clear pretty much so we have everything ready. This image would already sell a lot. But the movie on the screen, it's going to help you take it to the next level. So I'm gonna go to File, Place Embedded. And you have to look for an image on your computer. You can download this from Google images. It doesn't matter. I mean, whatever movie you like, you can use, Let's go on to use, we're going to use them, an image from the interstellar movies. So go ahead and select it and click on Place. Okay, So you have the image. This is an amazing movie, one of my favorites, Hans Zimmer score, one of my favorite guys ever. So you have this right here. So first thing you're gonna do is it's going to move it or less. And then you're going to resize it just roughly to the size of the screen, okay? Roughly, Okay. So it's almost the same size. So this is very important here. You right-click on the image. You click on distort. Well, this is gonna do is gonna change the perspective of the image. So you go ahead and start. You see how the image doesn't maintain the ratio. So you go ahead and take the four corners. And there you go and place it on the screen. See how it's distorting the image to make it look natural. And there you go. And for effect, so you can enter, as you can see now, we zoom a bit. There is some line here from the screen. So you go ahead and go Command T or Control T on a PC and do it again, right-click distort and make sure that we go all the way down. Click Enter. There you go. Now you can see as more natural. So if liquid screen, perfect, Okay, so here it's okay. You can stop here. But I always like to go to the next step. I mean, some people are going to look at this image and say, okay, that's a nice image, but I can see the movies not real. So what do we do to make it a little bit more real? Mike? Advice, you go to the layer which is here, That's the image. And you lower the opacity to 50 percent. And that's my secret. That's my key, down to 50 percent. Now, it kind of looks a little bit more bluish, so you don't make sure that you go until it looks kinda real. So we're going to go something like 75. Let's go down to 78. Okay. Yeah, that looks like it's actually playing on the Cinema. Okay, perfect. So we got the image ready. And all you need to do is just close here. Save. And it's going to take it back to Lightroom. It's saving amazing cinema. I wish I had one of these at home. You go back to Lightroom. And voila, we have the cinema room. I'm going to give it a three-star. Maybe when you come back, sometimes you're going to see some details that you didn't like before. For example, myself, I would take gradient filter exposure. And that will give it a little bit more closer up here. So it looks a little bit more darker AC take it down and then you dark it a bit. So he focused more. So there you go. More on the screen. Perfect. So this is the before image, as you can see. And this is the final image. So definitely a super nice place, super nice area, your home to relax. What's movies with your kids, your family, wife, girlfriend. So yeah, that's gonna be the cinema room editing. Keep bit up for the next episode. 12. Golden Hour Retouching: All right, So we are here with another picture. This is golden hour. Golden hour is one of my favorite times of the day to shoot a picture is just beautiful. This golden Shane and golden soft light we get, it's just impressive. So let's get started with this amazing view. I actually have this photo printed in one of my students. And it's something really, really special. So first things first, let's get to the cropping of the image. In this case, I'm going to give it a little bit of a panoramic field. So something like this, but even more panoramic. Let's just go crazy on this one. And I go like this, even lower. And there you go, something like this. You see how the sun is actually coming from the right side from the West. Super nice. So you click enter. Something like this. Okay, perfect. So the next thing we're gonna do is we're actually going to straighten the image. So you go to transform, you go to Auto. It's almost straight, but it's not super straight. So let's click the Edit button and then we do it ourselves from minorly. So you click here, remember, you get four lines. So you're going to do one up here. We're gonna take the swimming pool line, which is supposed to be parallel to the same line. There you go. See how it's straight now and now we straight into columns. So we pick this line here and we'd go down. There you go. And then we get the other one here. There we go. Perfect. Now it's supposed to be superstring. So click Enter. And now we're gonna go to the lens correction. Remember, we are always going to do this. So we're going to, if you actually click here, you're going to see a little bit of a magenta border. Same here you see she kinda like a green fringe, magenta French. So you're gonna click on remove the chromatic aberration you see here anymore. And they, you're going to enable the profile correction. There we go. Perfect. In this case, if you take a look at the line, the construction is not perfect, so we can fix that. So you go back to Lens Correction, you've got to manual, and then you're going to click on the distortion. You see how it goes like this. So this just going to give it a little bit of a help. Yeah, that's perfect. There we go. Perfect. So we got the image drops as we want it. So let's get started with the lights. So as usual, we go down with the highlights. We opened up the shadows and we use are what we put a white points and you hold down the Option key. And then you all the way up until you see some white points. Not that much, just like this. Perfect. That's why points, black points, same thing but the other way around. So you go down until you see a little bit like 15 percent of the image, something like this. Perfect. Okay, and now we're gonna give it a little bit more exposure. There we go. Perfect. Yeah, something like this. And then we're going to go up with the contrast. So let's contrast that up. I usually like my image, very contrasty. So let's go to 40. Perfect. In this case, the sofa, as you can see down here, it's not perfectly straight. You should have done that before the picture was taken. So let's go ahead and crop that a little bit so it doesn't distract us from the main shot. There we go. There we go. Perfect. Now everything is in the middle. Hopefully. You see this line here that's in the middle. You can go a little bit this way if you want. There you go. And that's in the middle. So that's a very, very nice view. Okay, so golden hour, remember the word says it all. Golden hour. So you're gonna go ahead and pump up the Golden. And again, that's me. That's my preference. You can go as low as you want to say as you want, but this is usually how I usually do it. There you go. You're going to go around 7500 is pretty good. Then pumped up the pinks, the magentas, something like this. And then in this case we're going to, we're going to turn down the saturation just a little bit. So we're going to go down, run ten points. That's pretty good now. All looks nice. Looks really nice. Okay, now we're gonna go color by color. You see how the yellows, how the green side a little bit yellowish. That's fine, but I like my greens to be a little more green. So go ahead and remember, don't go any further than 20 here. 15 is girls go 20. And that's much better. Perfect. There we go. After that, remember we're going to sharpen the photo. I always like my photos very sharp. So outsized role is going to go to 100. There you go. You can even see their details. Ceo of the couch, materials on the floor. They got a maybe a place, some noise reduction. Let's go to 10, maybe tennis good. And yeah, that's pretty good. So let's go back to the colors. Blue are usually laying my images with a blue sky with because that's where you're selling. When you're selling real estate, you need to solve good weather as well. And we're going to turn it down to say 20. Same thing with my aqua for the swimming pool. There you go. Perfect. Let's bump up the saturation for the blue. Just a little bit. There we go. Okay, So I think that's a good start. Remember before and after. Yeah. Thing that makes a difference. Yeah, that's a very big difference. Okay. So let's go to the local lighting. A shoe like to get my radial filters filters. We go to temperature exposure. I'm going, I'm sorry, exposure. And then remember a very subtle so people can not see it. There we go. Something like this. Something like this, like this. Okay, pretty cool. In this case, I'm actually going to add a gradient filter for the whole thing. So you press down the Shift key while that does is keeps the filter straight. And you've got like this element. You see without the here on, off, it gives it just a little bit of more sun. So going like this, a go and then we're going to actually close the photo a little bit. So you go to the post crop vignetting and just go down a little bit. I think I'm going to give it a little bit more of a ceiling effect. So you go to the Crop tool and you go up. There you go. Yeah, that's much more balanced. There you go. Perfect. And remember the first column you do is not forever. So have you make a mistake or you feel the picture should be different afterwards because you're gonna be working on the picture for a very long time, at least like 10, 15 minutes. So make sure that the crop is the one you want. Okay? So it doesn't matter if you do it 15 times as long as you get it right. Perfect. So we got that pretty much done. Let's get our brush here for the grass because the grass was just replanted. So it wasn't very well. It didn't look very nice. Siegel tint. You go to a green and you painted a bit, just a little bit. So it's not too thick. Remember? There you go. In this case, it just looks a little bit to fix. You just go up a bit better on the click on New. And then you get another one here. Just a little bit. And remember you can actually change the whole grass thing. But that's a little bit more complicated in Photoshop. So just make sure you give it as much green as possible. Just not to lose the attention on the view in this case, Perfect. There you go. So before and after. With that looks nice. So we keep going. And then what else would I do to this photo? Maybe I would just get a radial filter. I will go to temperature. I will go a little bit blue, just not too much like 25 minus 25. Just put a leg, a blue filter here. You see how the Pope to stands up, stands up matter. There you go. You see on, and now look at the difference or the radial filter. So Ticulate, wow, it's just different. Perfectly. I click Enter. And that would be pretty much it. You got your super nice view from the outside launch, 50 €1 million house, I mean, something to die for. So go ahead and experiment with this. And oh, but guess what? We have something here. That's a candle that we forgot there. So let's actually go ahead to Photoshop and remove that. So you go to Edit, edit in Photoshop 2020. And remember, take a look at the picture many, many times before you deliver it to the client. Or otherwise, something like this can happen and that's not a very good thing. So you'd go to Photoshop and then let's remove that candle thing with the stamp tool. Remember I always make a copy of the layer just in case I mess up, I can always go back. So you go here, you zoom down just to read all the detail. And first thing we're going to try is the J key, which is the brush, Content Aware brush. And then see how, see how it does just for fun. Go like this. It did a pretty good job. It did a pretty good job. But then let's actually fix that. So you've got to stamp tool now S, and then you make it a little bit bigger. You go to your opacity and you lower it to like 45 fish, something like that. And then let's, you know, let's conceal that a bit. There you go, you go from both sides. Look at that. Look at that, how nice it is. Look at that how nice it is and they're going to keep trying until you make a nice. What I usually recommend for this is just when you, when you're done it, you go away for five minutes and then you come back and see if you can actually see it. But that's actually pretty decent. I would say again on enough. On enough. Yeah, I don't think anybody is going to notice that. And now that we are here, okay, you want to go crazy a little bit. You can just go fix the materials a little bit. That's pretty much it. So we click, we close it, we save it. And that's going to take the file back to Lightroom. And as you can see here and saving. And then it should go back to your Lightroom folder. And there it is. I give it a three-star and thus the final photo. Alright, so let's keep going. 13. Blue Hour Retouching: All right, so we're back into the game that we're going to reattach the amazing money shot blue hour. What is the blue hour? Remember I showed you in the video before this, just 15 minutes after the sunsets or 15, 20 minutes after this nonsense. And that's when the houses look their best, their absolute best. And this is the money shot and I call it the money shot because that's the shoved that all the agencies want in their main portfolio. So make sure you get that time straight. You remember you have some, some apps and I'll tell you what time the blue hour is going to be. So make sure you check those out. All right, so we have this amazing heaven 11 house. I mean, it's one of my favorites, as I told you. And we're gonna take the money shot. Okay, so first things first, let's actually crop the image and let's get to it. So you create the club tool. I'm gonna make it panoramic, even a bit more panoramics. So you unlock the lock, actually, you go a little bit like this. There you go. And then you click on Enter. But actually before you click Enter it, you see how the line is not perfectly centered. Let's actually just come to the right a little bit. There you go. Perfect. All right, so that's the crop. And then less treat in that image because it's a little bit tilted to the left. And remember when you're shooting, you can actually think it's straight. But once you go to a computer in post-production isn't actually sometimes not super straight bar. We have two flat, so you go to transform, you go to Auto and then maybe you think it's straight. Perfect. But the members is the money shot. So we need to make it super, super straight. All right, so let's go to the guided tool. Make sure is super, super straight. So you click a line. Here. You go. Remember you have two horizontal lines and vertical lines. Okay, so that's one. And then click on this one right here. For example, you can click any one. But we're going to do this one right now. It's perfect. Okay, so that's horizontally straightened. And then we're going to go to the verticals 0, as you can see here, there's some magenta, but we're going to fix that in a second. Okay, So we got that column and then we're going to use this one here. Perfect. See the magenta here and you can actually see it. I don't know if you can see it, but OK. Now it's straight. So you click Enter. I'll go. And then let's fix that. Let's correction. The magenta is gonna go away, remove the chromatic aberration. That's something the lens does. It doesn't matter how good your lenses is always going to show some abrasion. So just make sure you click this all the time and then enable your profile correction. See what that does. Yeah. Okay. So that's the correction. Perfect. You remember after we straight in the house, we want to center it again. So Craig, your crop tool, make sure everything is in the center. This gives me just gonna move a little bit to the left there you nothing. It's almost nothing. Perfect. All right, so let's get to the light. As always, we bring down the highlights all the way down so we can see more details on the highlights. We open up the shadows, in this case a night I'm not always going to go to a 100, although you can if you want. But I'm myself, I usually like to go 75 just so we can see some shadows on the trees and everything because it's a night shot pretty much. So. We want to keep that in mind. And then for the white points, we're going to hold down the Option key. And then we're going to go up all the way until we see some white. They see some white points. There you go. So you release it. And then the black same thing. You hold down the option key and you go down until 15% of the imager. So it's going to be a little Blackberry. Perfect. That's my base. Of course, you're going to add a little bit of clarity and not too much. I know what you guys are studying. You like the clarity a lot, but don't do that too much because it's not going to do you any good. That's just a little bit so we get some more texture on the materials and that's it. And then the saturation, we just take it down just one notch. Yeah. That's five points and that's my thing. I don't know if it's because you actually can see it or it's my thing, but that's what I actually do it. And then I like my images contrast the soleus go up to 35, for example. Okay, so that's your main color points. And now that we have that we can go with exposure and we can play with that. I like to go somewhere where you can see the whole thing but it's still dark. So let's say something around there. Yeah, that's pretty good. And you can see it's, you know, it's almost night shots, but it's not quite. So yeah, that's something pretty good. So I'll be my basic. Now I can go with the white balance. Okay? I would go a little bit cooler on this one, a little bit more bluish because it's getting darker night, something like this, something like this. There you go. Perfect. You can play with the green and the magenta. I always like to go into magenta site. In yeah, there we go. Perfect. So we go down to the sky. As you can see, everything is dark by the skies, a little bit too bright. So what do we do? We take a gradient filter, we click on exposure. We go down with exposure around 50. Something like this. And I am actually going to give it a little bit more bluish because they wasn't a re-grade sky. So just go on the temperature and go left. Something like that and then exposure by side as you can see. Let me tell you how it is seen before and after the house turn a little bit blue. So what do we do? We take, we select the filter. We go to the range mask, we got to Color and select the picker here. And what that does, it's only apply the filter to that color over there. Let me click again. Yeah, you see this is actually the original color now, so that's a magnificent tool that Lightroom has come up with. That's going to save us a lot of time. Now for this day. I remember I told you before this the lights were not working. All of them. So as you can see, this is a little bit dark. Okay, so what are we going to do it? We're going to take a radial filter. And this is gonna make all the difference in exposure. And then you're gonna go a little bit higher. Let's go around 55 and then create a filter so you can light up the house a little bit, just very, very subtle, just make sure nobody notices that you used a filter. Here, let me show you the before and after. And you see just something Ray Lite to get some light to the house. Okay. Perfect. All right. So now a personal touch, you go to the hue, saturation and luminance. I don't like myself to have this yellowish light that strong. So what I usually do as I got come down to saturation and I put the oranges to 25 and the yellows to 20. You still have some like, man, it's not too much. Okay. You can still go down with the luminance. So it's a little bit darker inside more details. And with a yellow as you can see, you see that's more elegant. I think again, you can have it. You can have it like that if you want. That's up to you, but I like it a little bit more subtle, more elegant. Okay. Perfect. Alright. And what else we have? The swimming pool. The swimming pool lights were not working as you can see here and here. So I don't know what happened that day. But let me show you how you can actually fake it a little bit, but just very subtle again, okay? You go to the brush and you go to exposure, something like 60. And make sure when you actually brushing. Take a look if you see a view need some more blue or not, I think we need some more blue and you're brushing, you see because everything is getting a little bit grayish. It's nice. They don't go too high on the lights. There you go. Perfect. See how he's painting. But I would definitely add some blue to it. So you select the brush. And then you go to the temperature is lighter and then go left a little bit. Let's go around 25. You see, it makes all the difference. Before and after. You can even go a little bit higher than the explosion if you want. Yeah. Yeah. Perfect. Yeah, I remember that before and after. Yeah. Makes a difference. It makes a huge difference. Now, this one, they want to buy this one. Not so much. So okay, and we have this ready. Let's actually get rid of this dust button, the camera. So you go to the Spot Healing Brush or Spot Removal and Lightroom, and then you click here, you can select the visualized spots. And it does it for you. You select it. You go initially, it does a pretty good job. This one I didn't do a pretty good job. I don't know why. Why why why did into a pretty good job. So you select it and then you go to a different naming it like that. You can still see it. So we can fix that in Photoshop afterwards. All right, so one more thing we're going to do here. Let's take another filter because, you know, you see how the, are there. Grass looks a little bit sad. So let's take a far greater filter, exposure. And same thing and you select it like this. Or like this a little bit, just a little bit very subtle. Okay, this is a little bit too much memory. And then same thing we did with the points go down with a green. Make sure it's green. Perfect. And then we duplicate it, right-click, duplicate. And we bring it here. Turn it around. Oops, sorry. We turn it around like this. And we do something like this. Very subtle. You play with it until you feel it's nice. And yeah, and I mean, you can go as crazy as you want with the brushes. You can rest up the trees a little bit. If you are, you can rush at least three, so a little bit if you aren't very suddenly SHE this bar right here, you can brush up the mountain a bit. Don't go crazy though, just to a point. And again, before and after. Yeah. It makes all the difference. Makes all the difference. Perfect. So we're going to stop here. And whoever wants to be a little bit more advanced. In the next video, we're going to show you how to turn on all these lights that are off. So if you want to come by, make sure you keep watching. If not, then come back when you're ready. All right, So this is your money shot for heaven. 11, amazing. 14. Blue Hour Extra Tips: All right, so we're going to show you the little bit of an extra advanced retouching on this photo. So as mentioned before, we don't have the lights work in here. So you can see all this I know working. And we're going to try to make them work with some magic in Photoshop. So, but before we do that, as you can see, you see how the walls of the house, a little bit on the pink side. Well, photos in Lightroom has this new feature which we used before, the radial filter, as you, as you know from before we have this one, okay? And we can also use a range mask in this. So let me show you how it's done. So you go like this range mask, you go to color, and then you only one the exposure, the picker S. So let's click here for example. Oh, hey go. You see now we've pumped up the exposure and it's only going to do it on the same color. Look at that, look how cool that is. Perfect. All right, so we go to Photoshop and you right-click edit in Adobe Photoshop 2020. And we're gonna try to restore their facade lights and see how it works. I mean, it takes a little bit of time, nothing too special. But let me just show you an image to show you how it's done. Before we do everything, we go down, we duplicate the layer like this. And then let's actually clean the photo before everything. Okay, as you can see, there's plenty of things going on everywhere, like some things here, all this things here, they distract you, they distract you from anything. So you press J, which is the Healing Brush, and then you make a little bit bigger and then you start cleaning up, you see, you start cleaning, cleaning, cleaning everything you can in these slides didn't work as well, but we did that trick with a brush so we can remove them as well. So they don't know, people don't know, they're not working. Remove this a little bit here as well. There you go. A little bit about piece of thingy here. We can remove as well. Perfect, this light is actually distracting me. So we remove that as well. And you see some little spots on the grass or we can fix? Yeah. And I think two major I mean, you get the idea, you can go crazy with this bad. I'm just so you get the idea. Okay, So we clean the photo and I shall leave you zoom in. There's some spots here, some rainy sponsor. You can actually clean as well. And we can really go into depth with this. But let's just really, really quick. Take it. I mean, I would paint over everything and I would stamp, use the stamp tool. But let's just take a really quick approach to this. The lights, It's what I want to show you guys. Ok. May go. Perfect. And again, if this was fine for the client, I would paint this whole part here for the course which is going to do the lights. Okay, Perfect. So this is okay. So we press S, which is the stamp tool, and we go here. As you can see, this is the light that I'm going to take us a reference. We could also take this one, but let's do that. We're going to take oh, sorry. We're going to take this one as a reference for these three because of the perspective is good. And then we're going to take this one as a reference for this two. Okay? So let's go ahead and click S stamp to make them brush to some decent size like this. And remember to take the whole lamp. Okay. So you go like this more or less? Yeah, something like this. You press the Option key and then you click, and then you have the reference. So now you go to this one. Oh, check this out. Okay? And then you can actually do it like this. Start clicking, start clicking. As you can see, my capacities around 45 percent because we don't want to make it too fake. Okay. There you go. And then you see it's only the top part because if I go down, I have the glass here. So what do we do? We go here, we take this as a reference again. But you go here to the Stamp Tool, toolbar Clone Source, click it. And you see this little thing here is going to invert. The selection, is going to flip it. So you click there and you see how it's downwards, not there you go. So you have to do is just click there you go, until it looks super nice. It showed you a little bit of an edge here because again. You have to be really careful with this. But if you click and zoom from the distance you can until you see. Look at, look at here. Let me show you the before and there's the after before and thus the after. Nobody's going to notice, trust me, I mean, from the distance nobody's going to know. Okay? So we're going in the same reference. We click. And remember this is selected now, okay, The flip, so we flip it. We select this again. And we choose this one here. Okay, really, really subtle. Again. Really, really subtle. And then again, we selected, it's actually selected here so we can see the bottom of a light. There you go, perfect. And then you click here. You flip it and perfect. Maybe a little bit more. Perfect. And you can see it's fantastic, really, really simple. And we do the same thing. Once again. We press S, We go here and bla, bla, bla, bla bla. Few clicks. Again, really subtle. Be careful with that. And then I'm actually going to show that lamp here. You got. And then you click again. Flip it. And here we go. Make sure it goes like, okay, you go zoom out. Look at that torquing, remember before and after, before and after. It looks super realistic. Okay, so you go on the right side, same idea. You get your stem selection tool, you press the Option key, you get your reference. And then you go here. It's flipped. Remember I've added the flipping monarchy, nor like this. And you go really simple. And then let me show you like that. And then you go like this. You flip it and you go to the bottom part. Okay? Something like this. Perfect. You and flip it. Again, you press the Option key down, you click it, and then you go here. Same perspective. Okay, some light a go, and then let me show the bottom of it. They go and then again, you click in here. You flip it, and then you put the light down. You got your zoom out fit screen. There you go. You see it shows before and after, before and after. Remember this one here, for example, you see it's a little bit more fake. But again, you see that now because you've been doing it right now. But if you show anybody transmit, nobody's going to know. Okay? That's a really, really simple way of doing it. Okay? And now that we're here, let me show you a different thing. You see up here. This late in the dressing room. Actually, it has movement sensor on the top. So what happens if you don't have your assistant up here warming while you're shooting, it's going to be dark. So in this case, the house is so symmetrical. Now we can actually fake it. We can actually copy this bud here, and we can actually move it on this same. Okay? So you're gonna assume you're going to create a new layer, okay? And just to make sure everything is okay. And then you're going to click P, which is the pen tool. And then you're going to make a selection. And I'll make a selection really quick. Make a selection here. Selection here. There you go, you close it. You click up here and selection. Less expanded one pixel just in case, okay, click like this. And then you click Command C, which is copy Command C, and then you click Command V, and it pasted it. And all you have to do is move it this way or take this up. Okay. It's not exactly the same size, but let's make it work. Let's make it what you can actually flip it. So right-click, actually hold on. I mean, you go like this and then Command T, you can actually flip it. So it doesn't look the same. And you click Enter, I'm going exactly the same. So let's actually resize it a little bit. A go Command T once again to distorted like the same thing we did with the movie theater. And here it is, perfect. Here it is. And in this case, we're going to go down to here. And we're going to go down to here. Perfect. Let's zoom out. Take it up. Take it out. It looks at the saint, Nobody's going to know because the before and after. And trust me, how about who's going to notice? So, yeah, now of course, you have to take a look at something. We did some tricky here. By you see the reflection. The reflection needs to be reflected as well. So what you're gonna do, you're gonna do the same thing. Again, you create a different copy. And then you go down and do the same exact thing. But we're going to do with the stamp tool because we have some capacities and under same. So you've got like this, you press the S button, go like this. And then same thing here. See it's flipped down and flip horizontal. So you go like this and you go like this. Oops, sorry, Edit, inhibit that. Sorry, really quick. There we go, sorry. And you select this background copy here. And then you select it a go, and then you flip it horizontally. They see, and you go little by little. You're going to get the light. There you go. Perfect. Same thing here. You go here with your facility at 45 percent, you select the whole thing. But you actually have to flip it like we did before. And it's really simple. Few clicks that say, so it's a reflection. Same thing here you selected. Make sure it fits 123 clicks. Maybe. They go, Oh, fantastic. All right, so now we have an amazing shot. Every all the lights are working. Their client is going to be really happy because, I mean, he knows the lights were no working or the day of the shoot, and that's it. And of course we can change this guy. We can do thousands of things. But I think with this picture which we took in total probably like 15 minutes, 20 minutes at most. We have a super amazing money Shang. So you click here, you close it, you save it, and it's going to send them back to Lightroom. All right? And then initially here at saving and you go and once you have it back enlightenment, you, it depends on how you organize your photos, but Let's see if light room wants to open. Oh, here it is. Okay. And I selected as three-star, so that's my complete it. And that's amazing. I mean, look at it. That's the before. There's the after. Yeah. I would definitely take this one. All right. Thank you so much. Let's go to the next video.