Transcripts
1. Introduction: Hi, my name is Alex Staniloff, and I'm a Professional Interior Photographer in New York City. My work's been featured in Architectural Digest, Elle Decor, and The New York Times. I've been shooting for close to a decade and have shot tens of thousands of spaces in that time. For those of you who have seen my other class, welcome back. I'm so excited to bring you along this course and show you some expert level skills that I use in my day-to-day shooting. In this class, we'll shoot a furnished space using natural available lights and flashlight. We'll bring all those different exposures into Lightroom and Photoshop, and edit them together into one final beautiful image. We'll do so with the use of compositing. Learning how to composite is a super useful skill, not even just for interior photography, but other types of photography as well. It allows you to really make the best out of a poorly, naturally lit situation by using multiple exposures and it also allows you to use a single light source multiple times. So you can create your own portable multi-light studio by just using one single light. We'll go over some other editing tips and tricks that you could use to get you out of different situations when shooting interiors. Although this class should really help elevate your skills as an interior photographer, I hope it also changes your perspective on photography and the editing process. Thank you so much for joining me and I'm so excited to share my skills with you.
2. Class Orientation & Materials : In this class, you should be able to possess all the skills I use to shoot and edit interior photos. In my last class, I asked students to present a few different photos for their class project. In this class project, you'll only need to present one photo, but it's not that easy. As you'll see, we're going to be shooting multiple exposures and using a bevy of Photoshop tools to create that one final image. I want to make sure that you can do it all on your own. If you haven't seen my last class, it might be helpful to get a better understanding of interior photography, as in this class, we're going to be building on those fundamentals we've already learned. It's important that you understand how to use a wide-angle lens and how to shoot multiple exposures. It's also important that you have Photoshop and Lightroom as we're going to be using those to edit. Now, Lightroom isn't a 100 percent necessary. However, as you'll see, we're going to be using Lightroom to batch edit multiple exposures that we're going to be bringing into Photoshop. It's in a streamline to editing process and make it a lot easier for us if we have both of them that work together in tandem. It's also really important that you are experienced with the use of layers and the pen tool as we're going to be using those a lot in this class. If you're not familiar with those, it might be helpful to read up on them before we continue. In regards to gear, you'll need most of the same equipment as the last class. A DSLR with a wide angle lens at least 60 millimeters in a full-frame body and 10 millimeters on a crop sensor body, a very sturdy tripod and a flash. We'll need you to be able to fire that flash off camera preferably with remote access. There are work arounds if you don't have all of these items, but you'll find everything much easier if you do.
3. Composition: Now that we're all geared up, it's time to frame our photo. Now, in my last class, I talked about how important composition is to our photos. What I like to do, especially when I'm with my clients, is I like to move around the space with the camera just in my hands with the flash on top and just take different shots in the space to see what the camera sees because our eyes don't see exactly how the lens sees. It's really important to figure out where your angle's going to be by looking through the lens of a camera. I set my camera different than actually how we'll be shooting. I set my camera on manual mode with the shutter speed at 160, the f-stop at eight, and the ISO around 1600. Why I do this is because I'm not too concerned about getting a natural light or having a noise below. I'm just trying to expose so that when I flash with the camera, we'll get a great view of the space inside and outside. It's not going to look too great. We're just doing it so we can get an idea of the framing of the space. Really interesting space here. We have a living room adjacent to a kitchen, all in an open floor plan and there's even a stairwell showing that we're in a duplex with some really cool wallpaper in the background. When we're shooting interiors, it's really great to be economical with our shots. What that means is trying to get as much as we can in one photo. That way, you can really tell a story with as fewer photos as possible. We're going to take some shots now and try to get as much as we can in the space. Now, if you're in a space where there's some furniture that's in your way, you're going to want to move it. Why you're going to want to do that is because you're standing here with your camera [inaudible] , but you're going to have to pick your tripod there, which is going to take up more floor space. Don't be afraid to move furniture out of the way. We're going to just take some shots and try to get as much as we can at this space. Now, I'm shooting from this corner because I know that from this corner I can try and get as much as I can. Sometimes you want to shoot straight on. Sometimes you want to try different corners. But I know seeing this space, there's really only one vantage point that's going to capture everything in one shot. Now that the frame is selected, we're going to put the camera on the tripod and position it in the exact same way. Now, as you can see, my camera's plugged into my computer so that I can tether. Now, tethering isn't essential, but it's really helpful because when you're looking at your camera, you only have this little screen to look at. But if you have a much bigger screen, you can really use it to help you dial in to get the shot exactly framed how you want and to see if there's any little thing that you want to pull out of the shot as well. We've got our camera on a tripod. It's locked, it's not going to move. We're now ready to shoot.
4. Lighting & Shooting: Now that we have our camera framed up, we're finally ready to shoot. We're going to take not one, but eight different photos. We're going to go through all those photos right now, and then once we've got those photos, we're going to edit them together into one final photo using Lightroom and Photoshop. We're going to start with our Cameron aperture priority mode, with the aperture set to F13 and the ISO to 160. Now, you can set your ISO a little differently, and you can set your aperture a little differently too, but it's important to have a higher aperture so we can get more depth of field because after all, we're not just shooting one little item in a big room. We are shooting the entire room it self. It's best to shoot on a sunny day, but you don't always get a sunny day. So we're actually shooting on a bit of a cloudy day, but that's okay. Using the shooting method and editing method will be able to make it look nice and bright. We're going to start by making sure that the lights are off. Now we're doing this so that we're not going to get that kind of yellow, orange tungsten in the shot. But don't worry, we will be able to put the light simulator and we're able to control how he put them in by shooting them on a different exposure. When you take your first shot, which is overexposed by two stops and using our flash, which is remotely triggering our camera. Now, I like to set my flash just up a bit overexposing the ETTL at plus 1. ETTL is great to use. If you don't have it, that's fine. Usually around a half or quarter power of what your flashes is going to be pretty close to ETTL. We're going to take our first shot. Now, if you noticed, I pointed the flash up to bounce that light, because I don't want to actually be flashing directly into my furniture and the room yet, we're going to get to that in a bit. The second shot we're going to do is we're going to turn off the flash and take the exact same shot F13 ISO 160 overexposed two stops. We're then going to drop our exposure down to zero and take that same shot with the same settings just perfectly exposed. For our next shots, we're going to drop our exposure down by two stops. So we're two stops underexposed. We're also going to change our aperture so that it can let in more light from the flash and drop it down to F8, just so we can ensure we still have a nice depth of field. We're going to make sure it flashes back on and then what we're going to do is we're going to change our ISO because we are in aperture priority mode our shutter will adjust based on our aperture and ISO. We're going to change your ISO and bring it up a bit so that our shutter speed is closer to 160, and 160 is this camera's fastest shutter sync speed for the speed light. Your camera might be more like 200 or 100, and you're going to want to look that up. With your camera set to these settings, we're going to take our flash and point it at the window and shoot it in two different parts of the room. I'm going to hit the remote trigger on my flash, which will trigger a camera to shoot. If you don't have remote trigger on your flash, you can always just set a timer of two or ten seconds on your camera and it can accomplish the same thing. It will give you enough time to set the camera, then move to where you have to go to point the flash and shoot. We're going to do the exact same thing, but on the other side of the room. Now, you're going to see that you will be in your photos, but don't worry, we're not going to use that part of those shots to edit together our final photo, what we're trying to do is get the windows exposed properly and get the area around them flashed to help blend it in. Why we're shooting in two different parts of the room or doing this twice, is because there's naturally going to be some reflection from the flash in our windows. But if we have two different parts of the room that are clean without those reflections, we can just use those parts in our final shots and after it we are having any remnants of the flash in our shots. Now that we've got those two underexposed flash shots, we're going to turn our flash off. We're going to take the same shot of the view and we're going to lower our ISO back to 160. This is a safety shot just in case the shots that we took before do have too much flash remnants that we can't use them. It's a rare that'll happen with the way we shot, but it can happen and it's always nice to just have a backup. So I'm lowering the ISO. Just in case we do need to use that shot and it won't create too much noise if we need to bump it up or anything. When we take that shot and then we're going to take the exact same shot but when we turn the lights on, and when we keep it under exposed at negative two stops. Take that shot, and then we're going to bring our exposure back up to zero and take that shot too and that's it. We have all eight shots taken and we're finally ready to put these all together and edit it into one final photo.
5. Lightroom: We've taken the photos, we've put them on our computer, and now we're finally ready to start editing. We're going to start by opening up Lightroom. Now, you can do a lot of the things we're going to be doing in this class with just Photoshop. If that's how you like to do it, then by all means go for it. It's obviously an extra expense and the application to have to use Lightroom. But you're going to see it's so much easier to do everything we're doing with Lightroom because it just streamlines the process of editing multiple photos at once and prepping them for our use in Photoshop. Photoshop does this with the Camera Raw application, especially when you bring in raw photos into Photoshop. But you'll see right now what we're going to do with Lightroom, it's going to just do it so much quicker and so much easier. When you're doing these photoshoots, you're not usually just shooting one photo, you're shooting upwards of 5, 10, 20, and you're dealing with a lot of files. Lightroom's file management system is just so great to work with, it makes everything so much easier. We have Lightroom open, I'm going to go into my computer and I'm going to get out the folder and the photos that we shot, and I'm just going to drag them right here into Lightroom. On the right here you can put some settings on your photos while you import them, and that's a really helpful skill that we're going to get into in just a moment. In the meantime, we can see here we have all eight of our photos and they're all checked. If you didn't want to bring in any of them, we can just uncheck some, but we have them all checked, and we're going to now hit Import. That's going to bring all of our photos into Lightroom and we're going to go and switch to the Develop tab. You can see we have all the photos in here. What's so great about Lightroom is that we can make these little adjustments here as you can see in the panel, some global adjustments, that we can then carry on into Photoshop. We don't have to worry about doing those extra Camera Raw style edits, we have it all here and it's just ready to go in Photoshop, we can just use Photoshop to focus on compositing. The first thing I like to do whenever I bring a photo into Lightroom is scroll all the way down to the Lens Correction panel, and then I'm going to hit Enable Profile Corrections. What that does is it reads the data from your camera and it can offset any distortion or color or any corrections that Lightroom thinks should be improved from the actual raw file. As you can see, I'm going to click it off, and there's a little bit of distortion here, the color is a little bit off. This brings it close to what we saw in the back of our camera, which is really great. In addition to doing that, I do like to do some global adjustments, so I just scroll to the top here. I like to drop the highlights down a little bit and I like to bring the shadows up a bit too. Now, you'll see it makes it a little flat, so I like to compensate that by bringing the whites up a little bit and the blacks down a hair. I also like to bring the clarity up by about 10, and the vibrance up by 15 just to bring a little color and a little more contrast. I'm just going to type in 15 here, you can always do that. I also like to adjust the tone curve, which is similar to Photoshop's curves adjustments. I like to bring the highlights down a little bit and the lights nice and up there and the shadows down. Now, it gives it a nice punchy contrast to your feel. You may not like that, you might like it looking a little differently and you can totally adjust it how you'd like to. As you can see here, with the tone curve off, it's nice, but this really brings some punch into it, which is really lovely. I can now copy these settings to the other photos in my sets, and there's a few ways we can do that. The first way is, if you just click on the photo we had with these edits, you can hit on a Mac; Command C, on a PC; Control C, and you can copy the settings from the photo. I'm going to check all, because I haven't really done any local adjustments. I just want to get all these nice global adjustments I've made and put it on my other photo. I'm going to click Copy here. Then I'm going to click on my next photo in the set, that's the one without the flash, and I'm going to hit on a Mac; Command V, and PC; Control V. I'm going to paste my settings. You can see all the settings we had before are now on this photo, which is great. There's another way we can do this, especially if we have eight photos, we don't want to keep hitting the same commands over and over again. What we can do, is we can click that first photo in this set and then hold down Shift and click the last photo in the set so it highlights all of our photos. Then we hit the Sync button here. What this does, is it'll synchronize the settings from that first photo we have highlighted, and it'll paste those settings to all the photos in this highlighted set. I'll hit Synchronize here, and you can see here that all of the settings we have are now in every single one of the photos in this set. Now, there's a third way we can do this, and that is, I'm going to just unclick this gray area to make sure none are selected. I'll click on that first photo again. That is, we can create a preset based on our adjustments, and you use that preset in any photos, not just in this edit session, but in any photos we have. If you remember, when I first brought in these photos, there is an option on the right to bring in some settings when importing, we can actually select that preset when we import the photos so that once the photos are imported, they already have all the settings adjusted. What we can do is hit on the left panel here, this is Presets panel, hit that Plus button there, create preset, and I'll call this one Skillshare Class Preset. As you can see, I have all my settings selected here, and I hit Create and then you scroll down to the User Presets here, and boom, you have this preset right there. We already have these settings dialed in, but I'll just say, let's bring all of these knobs up to an unusable edit. I click on this preset and boom, it sets it right back to where it was. That's a great way we can synchronize all the photos to have the same look. Now, something that we should do differently with these photos, however, is looking at these flash photos, the goal of these flash photos was so that the area outside of the flash is nice and bright so that when when we're bringing into Photoshop to blend it, it'll be a pretty seamless blend. Now, this one here came out all right. I think we could probably do with it okay. This one here, I think could have been a little brighter. Now, this is something that we really should correct it in camera. But seeing it now, we have the tools of Photoshop and Lightroom to help us out. I'm just going to bring up the exposure all a bit on this one, drop the highlights a little bit more, and I might do that on this one as well. Now this is an unnecessary step, but it is helpful for us to have. We have all of our photos here, and they're all looking pretty good. The one thing I'm noticing though, is that there's a line here that isn't very straight. On Lightroom, you can use rulers to check how straight things are. If you hit the Art button, it brings up an overlay, and if you cycle through hitting the O button, you'll get different overlays, and I think there's one has a lot of lines, that one. You can see here on the left, it's not quite straight. We can manually straighten this in Photoshop or, I'm going to hit the R button again to take us out of that. We can scroll down to the Transform panel. There's this whole upright function that is just so helpful and has made my life so much easier, and it keeps evolving, it keeps getting better and better. The Auto button usually gets us into the best setting. That looks pretty darn good. We can do more corrections in Photoshop. In a bit, we'll see why it's best to do all our transform corrections in Lightroom. Because in Photoshop, transforming is a destructive edit which we don't really want, we want to have a lot of non-destructive edits. We can always go back and make changes if we need to. It's helpful to do this in Lightroom just so that you don't have to make that destructive edit in Photoshop, but it's okay. For now, we'll just leave it as is. Because I've updated my settings, I'm going to just do the same thing I did before, which is hold Shift and click on that last photo there, hit Sync. You don't have to sync everything at once. In fact, this time we're only going to sync via transformation, so I'm going to click Check None. I'm going to click Transform. I'll also click Crop and the Lens Corrections just in case any of those got adjusted because we did do an auto function here, it may sometimes crop a little bit. I'll hit Synchronize, and then boom, we can just go through and see here that they all look the same. We have all our photos tweaked and ready for us to bring into Photoshop. Let's bring it into Photoshop. We're going to select all of our photos, you can hold Shift and click the last one, or you can also hit Command A on a Mac, Control A on a PC. We're going to right-click on this first photo. We can right-click on any of the photos, we just so the first one, scroll up to Edit in, and then we're going to go over here to Open as Layers in Photoshop. It's going to open up Photoshop, and it's going to automatically bring in all these photos into one Photoshop file in different layers. What's great about this too, is once we've finished during the edits in Photoshop, it'll bring just one Photoshop file back into Lightroom. If we ever want to edit that photo again, within Lightroom, we just click on edit in Photoshop and it brings this whole file back. There we have it, all the files are here and we're finally ready to edit in Photoshop.
6. Compositing - Part 1: Our photos are in Photoshop, we're ready to edit. We're now getting to the real essence of this editing and the compositing. Let's start by aligning and organizing our photos and we can start working on our overexposed layers. We have here all the layers in Photoshop. What I like to do sometimes is to label these photos just so I can understand which is which, because sometimes these little thumbnails don't tell me enough. Now, if I'm doing a lot of edits, I'll forgo that. But for the case of this class, let's go ahead and label them. We can see this top layer here is the overexpose by two stops with flash. Exposure, we're going to hit this to close that view. Then we have this one is the same shot with just ambient lighting so I'll type plus 2 ambient. This is our no overexposed safety shot. "Hide" that. The next one here is our underexposed flash shot from the right. We can tell because there's a flash here. We know [inaudible] over there. Then here's that same shot from the left. "Hide" that, this is our underexposed safety shots. This is our underexposed lights on and then this is our not underexposed, [inaudible] exposed lights on. Let's just turn all these guys back on and we have everything ready to go. There are often very slight movements that the camera might make while you're shooting, and it's just natural that happens. What we're going to do is our final fail-safe is to auto align in Photoshop, because we want to make sure that every single layer matches up perfectly. Because when we start using masks and blending them together, if something is off, it's going to look out of focus, a little blurry, a little weird. We don't want that. We want our picture to be tech sharp. We're going to "Select" all of our layers here and we're going to go to "Edit" "Auto Align Layers". I just use the "Auto" function that usually seems to work the best and I'll hit "Okay". As we zoom in here, I'm going to hit the "Z" to go to the magnifying glass and just drag it in here. I just did that by the way by clicking and dragging to the right and dragging to the left, zooms out. I use that a lot. [inaudible] here, because there is these slight misalignments, we do need to crop it in, but we're going to save that for the end. By the way, I'm switching to the hand icon to move around by holding on the space bar. We're going to crop at the end because we'll need to make some transformations and that might actually render us without needing to crop, but we'll save that cropping for the end. We don't have to do that now because we want to have as much data and not crop our frame as much as we can. I'm going to hit "Command Zero" on a Mac, that's "Control Zero". That fills my photo in the frame. Here we have the first shot, which is our over-exposed with flash. Now, in my mind, the whole goal of editing these photos is to make it look as natural as possible as if it were just one shot, really hide the wire, the strings, use smoking mirrors in Photoshop form to make this photo look as natural as possible. Well, we want it to look attractive and not like exactly what your eyes might see, definitely something more enticing than that. But we don't want it to look like we edited the photo. We want to just hide our tracks and have it be just a seamless piece of beautiful imagery. As you can see here, there's some shadow up at the top from the flash, and there's some spectral highlights here on the fridge from the flash, and also there's a lot of light here in the foreground, which came from the flash. That doesn't really look that natural, that looks like flash. We're going to drag our ambient overexposed shot to the top and we're going to add a mask to that by clicking "Add Layer Mask", and if we hit "Command" or "Control I", we'll invert that mask so it is hidden. We're going to switch to our brush tool. Click on there, just hit "B". We're going to use our parentheses to make our brush a little bigger. We're using a brush that is naturally light exposure over the flash exposure to make it all seem a little more natural. I'm going to bring it up a little bit. I'm going to make sure that my brush is at zero percent hardness, or a nice soft brush size is fine. We'll keep it at a 100 for now. We could always brush it back and we have our colors, that's white and black. We're going to use white to paint in that natural light. You could see here, it's still bright, but there's just more natural shadows coming in on the left here, on the right, it's still bright but doesn't have that harsh flash look. Because the flash is a tool. It's not something that we want to just stick in the shot, take a photo and boom, it's done, we want to use it as a tool to help us get certain blending properties looking right. Oops, didn't mean to do that. Apple "Z" or "Control Z" to undo that, switch back to the brush. I'm using the brush in the ceiling a little bit. Now, you'll notice that the ceiling is going to look a little darker because you don't have that flash popping in it. But we can always fix that later. We can always add some brightness. I just keep clicking on the wrong things. Just really working on the perimeter here. That's really where the flash is hitting the most. I'm going to use those brackets to make my brush a little smaller, made brush in a little bit here, a little bit there. Just get those shadows to look more natural. You can see when we turn it off, you have that illumination from the flash and then we have much more subtle look here. It's already looking so much more natural. Honestly, if you didn't really worry about the background here or the overexposure stuff, you'd have a pretty good photo. But we're going to make sure the photo looks great. Now I'm just going to brush a little more over here to get those shadows looking really natural. Because it's okay to have some shadows. This kid has some darks in the shot. That is natural, as long as it's not taking away from what we want to see, which is this big room with the light and those furniture, and it's fine to have some shadows on the floor here. Now that we have a natural looking image, let's use the underexposed photos to really enhance the image.
7. Compositing - Part 2: Now with our flash layers, we're going to bring in the view, revive any lost highlights, and add a little bit of pop to the scene. We're going to drag our flash right underexposed layer to the top. Before we added a mask and then inverted it. But if you click "Option" and then click on the Mask button, you'll invert it automatically. Using our brush, we're going to make it a little smaller and we're just going to brush in, I'm going to zoom in here, we're just going to brush in these windows here. Now, it may not perfect, but I'm just going to go for it and we'll fix any imperfections afterwards. When I edit, I like to take things up a notch when I just put them in the photo, i.e making little mistakes like this and then correct them later because I think it's a little easier of a process to rather than go at everything with such detail. Then to just put into the shot and then deal with the details later. You can do it differently, but this is how I do it and it's been working pretty good for me. As you can see here, these items in the foreground are flashed and when we pull back, it doesn't look too crazy because we have the flash blending in a bit with that whiteness here and we're going to fix that. But same here with the curtain, we have some of this curtain, I'm going to turn this layer off for a second. We have this curtain with a bit of that flash on their and I think it blends in nicely. If you wanted to, you could just select this area, which we are going to maybe do, to make it look a little cleaner and then fill. Same with this one. You could select around here, but that just takes such a long time and I think the results are pretty good because we have that flash there. The thing is though we're seeing this flash on the right here in the reflection from when we fired, so we're going to drag our flash left layer up here to the top and we're going to do two things. First, we're going to hit "Option" and click on this Layer icon to cover it. But then what we're going to do is we're going to hit Option Command G on a Mac, Option Control G on a PC and we're going to group this left flash layer to the right flash layer. What that's going to do is this, I'll show you. We're going to switch out our brush and we're going to just brush over this right here. Look at that, it gets rid of it. But what it doesn't do, is get anything we brush outside of what we previously brush on the other layer to the rest of the frame. Because this layer is grouped to that layer, it will only affect this layer and what this layer is revealed. As you can see, the layer here has just the windows brushed in. That means if we brush anywhere outside of that target zone, it's not going to show up and that's so nice and convenient because if we make a mistake and brush a little over here or something or even just closer is more realistic, I guess, it doesn't show up, which is so nice. But if we go back down to this layer, once we do brush in over here, as you can see by toggling here, it does affect the other areas, but we don't want to deal with that. Now, I mentioned the brush is out, we're switching to black. By the way, you can toggle between white and black by just hitting the X button and that's really helpful if you're doing some brushing and going back and forth. Let's zoom in here and see what else we can brush out from our left exposed flash. We have this little shadow here from the right underexposed flash shots. If we switched to the left one and brush it over, that's great. Now because that flash didn't hit this area, this will be a little darker and if you hold down Shift and click on a mask, it takes away the mask. You can see this with the mask, this without the mask. We've used this mask to now reveal this area here, but it's a little dark over here. We're just going to brush this out a little bit and make that transition a little more nicely. Now, there's a couple of things that happen because we use the flash and one is that we're going to get, especially in a small room with big windows, we're going to get some reflections here of a camera and even some of the wall of the room that we're in, and we don't want that. So we're going to use our safety layer to fix that. We have our underexposed safety shot right here. I'm going to just drag this to the top. Now this is where things get a little complicated. We're going to also group this and we're going to option click on that to get the mask and we're just going to paint it in. Let me switch the wait [inaudible] brushing this out. But what you'll see is that this brushing in that I'm doing here is darker. This layer is much darker than the other layers with the flash, but we can correct that quite easily. We're going to apply a curves adjustment. We click on the Adjustments here, go to Curves, and we're going to hit again, Option Command G, which is going to group it down. But the problem is when we do that and we make these adjustments, it's adjusting all three of these layers because they're all groups to each other. We're going to use some folders and folders are a great way to separate groups even more so you can make further adjustments. Let's just close this out for now, I'm going to delete this curves layer. First, we're going to ungroup this layer up here. We're just going to hide this for now. We're going to group together these two flash shots by, on a Mac hitting Command G on a PC Control G, and now we have a group here. I'm just going to rename this group, flash negative 2 and what we're going to do now is click this layer back on, then we're going to hit Option Command G and group this, not to that one layer, but group it to the folder. It performs the same function. It's just that instead of us telling Photoshop to group it to this layer or to script to this layer, it groups of both of them together. We need to apply that curves layer, so we're going to go to the Adjustments and then Curves and group this down to this guy here. But the problem is, it's still adjusting the other stuff in that folder. Here's my solution for this. There are plenty of ways to work around it, but here's the way I like to do it. We're going to ungroup this by hitting Option Command or Option Control G on a PC and then we're going to keep grouping this curves layer to this layer. We're going to double-click on a curve there and we're going to use this guy, click on that and then just drag it up and down. That's pretty good and we'll just bring it out that way. There's so many ways you can do this, but we're just going to get it to look pretty good. That's looking pretty good, that's blending in. There we go, look at that. We turn the curve off and the curve back on. It's pretty seamless. Now, the issue is because this layer is not grouped to these flashes. If [inaudible] were so inclined and if you're in a situation where you have to get really close here, it's going to get the area that isn't covered in the other flash exposures. How do we resolve this? Well, first of all, I'm going to just go back and get rid of those. How do we resolve this? This next step is a doozy, so hold on. We're going to take this safety shot exposure layer, this curves adjustment layer, and we're going to group these two. We hit Command G or Control G. Let's hide all these other layers here. The only layer we have exposed here is our negative 2 no flash with curves. We're going to flatten these two layers into one layer, and we're going to keep that layer separate from these layers. What you can do is if you go to Layer Merge Visible, which is what we have, we'll create a layer that is exactly that. Those two layers combined into one, but we want to not make such a destructive edit because as you can see, we've now lost those layers. Actually I'm just going to open up my History, bring that in here, and go back. We have these two layers here. Rather than making that destructive edits to flatten those layers, we are going to flatten them and then make that a new layer. How we do that is the shortcut, which is Shift Option Command E. What that does is we now have this new layer here, but we still have this layer here and why we're doing that is because we want to have the option to make changes, and getting rid of these isn't going to allow us to make that many changes because we no longer have these layers. We're going to hide this folder because we now have as a new layer here. We're going to drag this new layer down here. I'm just going to call this two no flash with curves flattened. We're going to bring up all the layers from before. Again, this is our new layer that we had it added there and we're going to then group this layer to the flashes. We're going to hit Option Command or Option Control G on a PC and there we have it. We can see here that it's a non-destructive edit and it doesn't interpret anything else. Now, it's important that we did do a non-destructive edit because I'm seeing there's some reflections up here as well, but that's totally an easy fix. Now that we have this non-destructive edits, we're going to hide this layer. You know what? We're actually just going to delete it. We're going to open this one backup here, and we're just going to brush over onto this area. This is a mistake I make often where I'm accidentally brushing on the layer and not the mask. That's okay. We're just going to go back to Layer Visibility here. We're going to click on the mask. If you ever notice that you're brushing like, why isn't this showing up? It's probably because you're brushing on your actual layer and not the mask. I'll just get rid of that reflection there, that reflection as well. There we go. Good stuff. I'm going to change my opacity to 40 percent. Just brush in a little bit over here to just get rid of that shine as well from the flash, maybe even up here, just a little bit. Now you're probably saying to yourself well, you don't have to do the whole group thing again, you're perfectly in the lines, you're not making it seem crazy. You're right. That's certainly true. I don't have to regroup it back in there, but you know what? It's so quick and easy by just hiding all these other layers. Here's a little trick. If you hold down Option-click on the layer you want to see, it'll hide the rest of them. Again, that's just Option and click. We're going to use that trick again. Hide this here, bring these guys back up, and then, just say I put it in there, and group it in, and we're good. See how easy that is? Now, I'm noticing there is a bit of flash around here that we do not want. We can go back to our Flash layer here, and then, just using the Pen tool, you can click "P", to get the Pen tool, or you can just go around, thanks Photoshop, you can go around here. If you hit the Caps Lock button, it'll toggle to across here, which I think is a little more helpful sometimes. I'm just going to make a big selection here because I don't care about that. I just want to get the air right there. I'm going to close that and I'm going to right-click, Make Selection. What's so great about the Pencil versus Single Lasso is you can feather and you can also build other selections in so many ways you can use the Pencil, but I like to feather just by one pixel. Then, what I'm going to do is I'm going to click on that mask, Edit, Fill. I'm going to fill with black to mask out that area. Now, I could have just brushed in too, there's multiple ways of doing this, but it's how I like to do it. Then, I'm seeing there's a bit of flash here. I might actually go back to this left flash layer and bring that in. There we go. Nice. That way the flash isn't normally seen there. We could try again, just brushing in this guy a little bit. No, that's too much. Maybe just a hair of this lightness from that other flash just to make it seem a little more natural. Maybe I'll let you do these to get used to blend them in. Great. We have our background looking pretty good, blending in nicely. Now, we also have these highlights here that we can easily recover with the flash. What we're going to do is we're going to copy this layer and use it in a different way. The quickest way to copy a layer is to hit Command on Mac, Control on a PC and J. As you can see, it has created a new layer. The new layer is grouped with this other layer and we don't want to mess with that. We're going to actually take this bottom layer here and just drag it to the top. We don't need this layer here anymore. We're going to just drag this down, down and down, to the bottom. It's not here anymore, but it's there in case we can need it. Now that we have this layer here, obviously, there's a flash here because this is just that one layer, but we're going to completely fill this layer with black and start the masking process over. But it's going to go very quickly. A quick shortcut to fill something with black or white is to hit Option Delete, and that will fill your layer with the foreground color, because this foreground color is white, we don't want that, we want it to be black, so it hides the layer, and we hit X to toggle between those two, then we just do it again, hit Option Delete, boom, it's black. Now that we have that covered, we're going to brush in. My opacity is still at 30. Let's keep it that way. I'm just going to brush in. I'm switching again to white suppression way to reveal and brush in a little bit of that flash layer, just to recover some of what was lost in the over-exposed layers. Just bring in those last details. That's a little too much. I don't want to bring that one in. Over here, I'm going to change my opacity to 10 percent, and I'm going to do that by hitting one. Boom, it changes your brush opacity. Just brushing in subtly just a little bit here, maybe even some of these layers here. Now, it's so subtle, you might not even notice it, but I think it just brings in a little something extra. The devil's in the details. There we go. You've brought in just a little bit. Now, the only thing I don't like here is we're seeing a bit of the shadow from the flash. I'm actually just going to brush this out here. I don't really need that guy in there that much. I'm using a 10 percent opacity brush here. We've done that and now we're going to make this photo pop by using the layer in another different way. We're going to just use the same command as before, Command J or Control J and copy this layer. We're going to make sure that our black is our foreground by hitting X to toggle between the two. I'm going to hit Option Delete to completely mask everything. Then, we're going to change our blending mode to lighten. Make our brush a little bigger. We're actually going to toggle this mask, let's see. This is with the mask off. As you can see it is brightening certain areas. We may not want that for everything. But as you see here, it's nice to have a little bit of pop with this color on the coffee table here and this blanket here, is a little bit of pop, dark in this corner. There's a little bit of nice light happening here. I'm just going to brush in these areas. I'll use a 50 percent Opacity brush. I just hit five and that switched my opacity brush to 50. Be careful because sometimes, if you're not having the brush selected, you might accidentally change the opacity of your layer. I'm going to hit X to toggle back to white. Brushing now a little bit. There we go. It gives it a little bit of life. We have so much white in the photo that it's nice to have a little bit of color that comes through. There we go. Maybe over here a little bit. There we go. I'm going to turn it off and turn it back on. Like I said, it just adds a little bit of color, a little bit of whiteness. You can also use curves adjustments to do this, but I think that flash, it has like a real nice quality to it. We've added our window views, we've recovered some highlights, and we've made certain parts for element pop a little bit. Let's do some final touches to finish our photo.
8. Adding & Subtracting Additional Elements : Now that we've composited our image using all these exposures, let's add some final touches to finish it all up. As you'll notice, the lights are off in this photo and that's totally fine. You can keep them off if you don't like them on. But we took all these exposures with the lights on, so I might as well use them. Let's go down to this Negative 2 lights on. We're going to bring it back to the top. What we're going to do is we're going to change the blending mode from Normal to Lighten. You'll have different results with different lights and different exposure settings. As you can see, the light is now on in the top-left there, and we have the lights on here, but it looks a little funky. Doesn't look too great. Let's try our other layer down here and bring that to the top of our photo. There we go. I'm going to hide the layer below it and turn this one and change this one to lighten. That looks a lot better. It's just that sometimes certain layers work better for certain lights. As you actually see in this other layer that we did, this light over here works a lot better than these do, so maybe we will use one of each. So why don't we do this? Let's click on this layer here. We're going to hit "Option" and click "On Mask" to hide that, and we're going to zoom in and just brush in with 100 percent opacity the light. I want to go hit zoom out. We're going to use this layer, hit that mask, zoom in, and just brush in the light. This is great because now we don't have any of the residue here, this reflection here, this that there. Let's just look at this in normal blending mode for a second just to see. If we were to have these lights on, there'd be all this extra stuff that we don't need, and I mean, certainly, it looks a little different to have these on, maybe find it looking artificial, but I think it looks nice. We can even drop the opacity a little bit just so it's not too pronounced. That way we have these lights on but everything is clean and white and not affected by it. Something I'm noticing actually, this is what's so great about non-destructive edits is you can always go back and fix things again. Something I'm noticing about this one area here, there's this shadow here that's coming from the flash. Again, we want to make sure that things look natural. Let me find out which layer that's this layer here. That's okay. You can just toggle layers on and off as an easy way to find stuff you're looking for. I'm just going to click on my brush, make it a little bigger, and just brush that shadow out. There we go, easy solution there. Now that we've added some lights, let's change our sky. We see that it's a great day here. So we can add in a blue sky pretty easily. Now, we don't have a ton of visibility, so that might just be something you actually want to fix. But it might bother you if it's a more pronounced view. What I'm going to do is I have this photo, just have a blue sky. I'm going to drag it into Photoshop just right around that layer there. I'm going to move this layer up here. I'm actually bringing this layer to the top as well. I'm going to toggle it on and off. That's hitting right where we want to print the blue sky. Also, when it's not sunny out and there is a little bit of overcast, you want it to look a little natural. You don't want just a perfectly blue sky. To have some clouds in there really sells the natural image of, yeah, there was a blue sky with just a little bit of clarity that day. To have just a bright blue sky when it's otherwise not super sunny, it doesn't really sell as well. You can make some global adjustments to blend it in. But I find that having a little bit of overcast or at least some clouds really makes the sky look a little more natural when you're putting it in. We're going to hide this layer and we're just going to select using our Pen tool, good all Pen tool here, and just select the area where there's some sky. Now, I'm just doing the same thing I did before, I'm closing this and then right-clicking to make a selection. Then I'm going to do the same thing with this window here. I'm just going to bring it down to where this is. You're probably thinking to yourself, well, wait a second, you're selecting the buildings you mad man. Aren't you going to get sky on those buildings? By the way, you can hit "Add to Selection" to create a new selection and keep the old one, and you're right. If I use that selection to create a mask, clicking on the "Mask" button there, yes, it does cover the buildings, but that's where we use Blend If. Blend If is the perfect tool for so many different photo editing as far as interiors go, and it's perfect for putting in a blue sky. We're going to double-click on this blue sky here, and we're going to get the Layer style here. We're just going to move this a little bit off to the left here so we can still see our screen. In fact, I'm just going to zoom out. Here we go. What we will be doing is hitting this area here called Blend If. What this does is it blends in our layer if these parameters are what we select. Because this layer is on top, we're going to change the parameters for the underlying layer. What we're going to do is we're going to slide this good, little guy over here. As you can see, we get net sky in there. You can see it and it's blending it real nice with the branches, but it's not looking perfect. We're going to hit "Option" to drag this second part of this cursor over, leaving that one part there. Just about there. As you can see, the blue sky is there, but it's not being affected by the branches because what we've told it was to only blend on the white part of the underlying layer. That's why there's a spectrum here from black to white. It's only blending in where there is white, i.e. the sky. Now natural. I'm going to hit "Okay" to commit that change. Now, as you can see, there was a little bit of white over here on the building, but that's okay. We'll just use our Lasso tool to get too crafty with the Pen tool, and then we're just going to switch to black, hit "Option", "Delete" to fill. No, I did that thing I told you I would do. I'd the actual layer, not the mask. That's okay. Let's go back to the Polygon Lasso, going to click on the Mask and hit "Option", "Delete", and boom. Apple do you Command D to deselect, zoom out, and it's just affecting a little bit there. Now, again, we don't want too much blue sky. We could really ramp this up if we wanted to. I don't like doing that, I like keeping it natural and that looks pretty good to me. The last thing we're going to do is we're just going to get rid of some little areas just needs to be retouched. There's some wires here, there's some water here that looks a little dirty. Let's fix that pretty quickly. We're going to create a new layer by going to Layer, New, and we'll just call this retouch layer. We're just going to zoom in here without the Clone Stamp tool or hit S to bring that up, and then we're going to hit "Option" and click to sample. Make sure that you sample all layers here. We're going to bring that in and just brush. I don't mind going at 100 percent. Sometimes also just the 90 percent. But for little stuff like this, I don't think it's a worry too much about getting it perfect. Just wanted to blend in all seamlessly. Again, I like doing a little bit of a reckless and then erasing the area using the E button to switch to Eraser. That looks great. Now, let's go ahead and fix these water stains. Now, this might take a little more time. Again, we're going to switch to the Clone Stamp tool. Clone this bad boy in there. Do that same thing over here. Again, we're being a little reckless getting it on the window still itself, the window frame. That's okay because we can always just fix that afterwards. We don't want to have a lot of clean wall to sample from here, so I'm going to do something different. I'm going to use my Lasso tool here. We're going to select just these areas here avoiding the separation in the boards because this is pretty far recess in a frame. What I'm actually going to do is create another new layer. I'll call it boards. I'll spell it right. I'm going to switch the blending mode to lighten. What I'm going to do is I'm going to use the brush. I'm going to cross through each and hit "Caps Lock". The brush is pretty big, so I'm going to bring it back down. If you have a brush and you hit the "Option" button, it'll switch to Eyedropper tool. I'm going to sample this color and I'm just going to brush in using this lightened blending mode, and it's doing a pretty good job. Let's deselect using Apple do your Command D and zoom out. From this far, you really can't tell. I'm going to do the same thing to these guys over here. Now because we do have these plants, I'm going to use the Pen tool just to make some more precise selections. I'm also going to use the Pen tool to just use some curves as well. Switch to Caps Lock. You click and drag on the Pen tool. You can make these nice, little curves to go around these rounder shapes and click that and then Make Selection, and I'll just feather at one. As you can see, I do still have these words in there, but let's see if I can just paint around those. I'm going to sample over here get the brush a little smaller. Just going to sample the areas close by to make sure it is natural. Looking good. Now, it looks pretty bad because of these board marks that shouldn't bright. That's okay. What we're going to do is we're going to deselect and we're just going to hide this layer. I'm going to just use the Lasso tool to get these guys. I'm just going to make it all one selection. I'll go around this gray area here and just select all these areas that we don't want to be lightened. We want this to be natural and see that there is a separation. We're going to double-click to close that. I'm going to open this back up. I'm just going to hit that "Delete" button. Here we go. I'm still seeing their sum here. This is going to be a pane, select, move around there, right-click, make a selection, do the same thing over here. Right-click, "Add to Selection". We just have a couple more areas here, "Add to Selection", and we're almost finished. Make that Selection, Add to Selection, and then I'm just going to sample. Brush that and then let's zoom out and well, there it is, there we go. Looks pretty good. Honestly, this is gross over here too. Why don't we just very quickly, with the Lasso tool, you can use that same lightening blending mode, and just maybe do the opacity at five. It might be too much. I'm going to use the Eraser and just 20 opacity and just bring it in a little bit. There we go. You can see this is before and after, so much cleaner, so much nicer. We've done a lot of retouching here. We've made the photo look even better. We're just going to do a little bit more polishing up and export our photo.
9. Polishing & Exporting: We're on our last step of editing, very exciting. We're just going to do a couple little tweaks and we'll be all set to go and export the photo from Lightroom. Because we're using so many different layers in this photo, I find that using one big global adjustment is a nice way to tie everything together. What I like to do is go to the Adjustments and Curves, I like to select "Linear Contrast." There isn't a ton of contrast added, but you'll just see this is just a nice way to bring everything together. Some photographers like to use noise, some photographers do all sorts of things. I like to just bring in a little bit of contrast here, just so that everything feels like it's all one photo. I am seeing two, there could be a little more brightness in these areas, so what we'll do is we'll add another curves layer. I'll just change this one, go to Contrast. Yeah, we're just going to lighten up this area a little bit. If you click on this little finger guy, and he's the droplet, just bring it up here. This is way too bright, but it's okay. Apple I, Command I to inverse to turn the mass black, and we'll just brush in maybe 20 percent. Just a little bit of brightness here. Maybe I'll switch up to 30 percent and bring in a little more brightness over here as well. We did lose some of that brightness when we turned off that flash layer. I also love to, move this curve thing over here, I love to feather. If you double click or if you go back to this tab now if you click on the mass, it'll bring you the properties and just feather around four, five, six pixels, something like that just to make it blend in a little more naturally. here it is, off and back on. It's just a little bit of brightness there, just to ease in the area. I might even just drop the opacity down a little bit. That'd be too much. Okay, great. We have our image and it looks pretty good. The only thing I'm noticing is it's still not perfectly straight. Now, like I said earlier, this is something we could have done in Lightroom, but sometimes it makes more sense doing Photoshop, sometimes it makes sense doing Lightroom. But if we're in Photoshop, let's do it in Photoshop. I'm going to hit Command R or Control R to show the rulers. If you just click and drag, you can drag these guides out that I think are really helpful. Now, we'll bring it to this wall here. It's always great to bring the guides out to vertical points in your frame so you can make sure that your verticals are straight. Sometimes if you're doing a straight-on shot, you want to do horizontal guides, but we're using verticals now. I'm bringing it over here and I want to zoom in. It looks pretty good. It's actually pretty straight. Let's zoom out here. This doesn't look that straight to me though. Yeah. As we zoom in, you can see that it diverges a little bit from that line here. Now, what about over here? That's looking pretty good, and over here's pretty good too. Though this area here, we want it to really be straight. We're going to transform the image. Unfortunately, transformations are destructive. I've really done hard research in trying to find non-destructive ways of doing this and I struggled to find a way so that's why we're doing this last because we have our image, and if we have a client or someone who needs us to make any changes, we can always go back and make those changes and then just do the transformation at the end. It's not something we have to do at the beginning then we redo all these things. We're saving our transformations and cropping for the end. The best tool that I love to use for making transformations is the Skew Tool. Before we use the Skew Tool, we have to put all of our layers into one layer, flatten it into a new layer so we're not losing all the other layers like we did before with the flash exposures. Again, we're going to use the keyboard shortcut of Shift, Option, Command, E. We're going to edit and then transform and skew. We're going to just drag this guy a little bit. As you can see, it just fixes your verticals here and straightens them out or unstraightens in some cases. We're just going to slide this guy over there. We're putting another ruler here just to see. That looks pretty good. Now, the only problem is, if we zoom in here, these verticals are not looking that straight. What we have to do, is then just take the corner and drag it a little bit over by bringing new ruler here. That looks pretty good. New ruler over here, and I'll try this one corner just a little bit. I'll hit "Enter" to commit those changes and I'm going to hit Command or Control semicolon to remove those guides. Let's turn off and on, and there we go. It's so much straighter. Now that we have our final image, now we can crop it in. We're just going to go to the corner here, hit C for crop, and just bring it in a little bit. Let's also actually make sure that we have original ratio selected so that we don't make another crazy different ratio. We're going to go to the other corner here, bring it in just a little bit. We want to make sure we can search for images possible. That's why where we're just doing this, literally where the pixels end. There we go, hit "Enter" to effect those changes. Then we can go, and there it is, our final image. Let's close the image, which sounds crazy, but we're going to save it. Photoshop saves it, it puts it in our folder on our computer with all the other photos that we have, our rough old photos. It knows exactly where to put it, and then it'll bring it into Lightroom. Let's now go to Lightroom. There it is, our edited tiff that we created. That's it. We're all done editing. All you need to do now, you can go ahead and export your photo wherever you want with whatever settings you need, and there you go, your photo editing is complete.
10. Exceptional Situations: What happens if you are in situations where you need to have the ambient lights on or if you don't have a ton of natural light. Well, let's look at some examples of different situations that are a little trickier and how we can get you out of them. This first set of photos here was taken in the space that has a big kitchen and the living room. But the living room has natural windows and the kitchen isn't like getting a lot of that natural light. Let's look at a way in which we can resolve this. Now this shot, much like the shots we looked at before, has a flash and it's overexposed by two stops. Now, we're not going to do the entire edit on this photo, but I'm just going to show you how we can incorporate ambient lighting a little more seamlessly into spaces that also has a little bit of natural eight. We have this shot here that is adjusted naturally and then we have, again, these darker exposures have my flash exposure here and then we've got another flash exposure, and then flash exposure, the safety shot and then we have some exposures with the lights off. You have the underexposed one and we have normally exposed one and this is a great little trick that you can do on my room, which I just love. Let's right-click on this photo and we're going to create a virtual copy. Now, what that does is it creates another version of the photo, doesn't create different file, just another version of the photo that you can make edits to that won't affect the other photo, so I'm going to use this white balance dropper at the top and just get the white balance in this room and I'm going to make this photo a little brighter. I'm going to bring up these highlights and as you can see here, there's a ton of blue that's coming in and that's the thing with shooting in a space with both natural and ambient light is you can't white balance for both, it's one of the other. If we want a white balance for this space, also be all orange, which we don't want, so we're going to white balance for this. We're going to use this exposure with the available whites on, as well as the other exposures with the lights off and blend those two together, so I'm going to click on the other exposures I have. Again, we have this area and this area here. I'm actually going to also click on this flash one here. Now, if I was doing a full editor of the space, we would get the windows, we get rid of that flash there, but it's blue skies. For the sake of this example, let's just focus on how to incorporate the non-naturally lit space with a natural lit space. Like before, we're going to right-click on any of these photos and go to open as layers in Photoshop. As you can see, we have all of our layers here. I'm not going to go through trouble renaming these because this is just a quick example to show you how to make this look naturally blended in with the non-natural area. I'm going to click on this to get rid of it, crop. I'm going to bring this naturally lead exposure up here. I'm going to do that option, click, mask and then blend in, just some brightness here. There's a little bit of that naturally brightness and we're getting rid of the flash over there. I just had a little bit of one in here a quick version of that first happened in the last shot. Now, what we're going to do is we're going to bring this layer up here. This white balance photo with available white light and we're going to do much like before, switch the blending mode to lighten. Now the problem is we're just getting some of this over here. We're going to click on the mask and we're going to mask out this area here. Let's have these lights off just for now. But there you go. There will be situations where you do, I'm actually going to actually brush these out. I don't like those. I don't like those reflections there and there you have it. If you have a space where you absolutely need to have the lights on, you absolutely can, just make sure that you white balance it for this area so that when you blend it in Photoshop, it doesn't look all yellow. What happens if you're in a space where there's no windows whatsoever and you can't use any natural light. What we do in this case is just not even to use the flash, if there's enough light or we can have the whole space lit by just the artificial lights. That's great. Sometimes there are people who put in really interesting lighting setups in a space, be like a restaurant or a nightclub and we don't want to just remove those, we want to highlight those. In this bathroom, for instance, let's get that white balance again by using our eyedropper here and just clicking on a neutral tone there. That's great. Now, this is crooked. I'm going to go down to operate, here's auto to fix that and we have the regular exposed shot. I think it actually exposed this up, one-stop, just get it nice and bright, which is fine, and we have a lower exposed stop at negative two underexpose. These are the same parameters which we shot our other shot, we're just doing it without any flash. I'm going to copy these settings over using Command or Control C and then check all, bringing on to this guy. What we're going to do, though, is we're going to really push the limits of this raw file and I'm going to drop the highlights all the way down on both the global adjustment and down here. But then I'm going to crank up the exposure. I'm going to crank it up until I start seeing this area get too overexposed because we're going to brush in this area and the brighter the rest of the area around this light is, the easier it'll be to blend it in. I'm just going to bring it up a little more here. I think that's good because we're still seeing the detail in there. But what we are seeing too is a bit of noise, we're going to scroll down to detail panel and we're going to bring up the noise reduction and bring up the detail and do the same with color and detail. Now, this is probably extra work that you don't really need to do, but we want to make sure there isn't a noise because we've cranked this fellow up, almost two-and-a-half stops up. Now, that we have these two photos, and again, this is the over-exposed area that we want to brush out. We're going to bring them into Photoshop, open as layers, the Photoshop just like usual. There they are. Are two of the layers, great. We're going to drag this underexposed layer to the top and we're going to hit option, click the mask and we're going to just zoom in, and we're going to brush in this layer, just like that. I'm going to double-click and feather a little bit. Now we have our properly exposed image without that overexposure there, we've got it taken care of because of this other layer and that triggers some tricky situations using these Photoshop techniques.
11. Conclusion: We went over a lot of technical information, so thank you for sticking through it all. We learned how to use multiple exposures with or without flash to capture the exposures we need to edit our photo. We then brought our image into Lightroom and primed it for compositing in Photoshop, where we brought our views, brought out some interesting elements in our frame, and crafted a beautiful yet natural final image. We also went over some other techniques for windowless rooms, darker rooms. Now that you've learned how to shoot just like I do, I'm so excited to see what kind of photos you'll produce. There's no better way of learning than to get out there and start shooting. Thank you so much for your time and commitment to learning the craft of interior photography.
Alex Staniloff, Interior Photographer
