Placeholder Image

Subtitles section Play video

  • Hi this is Lance, with TipsforRealEstatePhotography.com.

  • And today we are going to use Lightroom to blend some real estate

  • photos together. Now if you haven't set up Lightroom, I would highly

  • suggestion you head over to TipsForRealEstatePhotography.com and

  • look for the post called Software Setup for Post Processing. That should

  • get you on your way for what we are going to cover in this tutorial. So

  • let's go ahead and open up Lightroom and we are going to create a new

  • catalog for this particular job that we are doing. So, I always create a new

  • catalog within the directory of the particular shoot. So all of my real

  • estate shoots have their own directory. And I name the catalog after the same

  • name of the directory that I am putting it in to. You can check out some of my

  • naming conventions and the way that I organize my files at

  • TipsForRealEstatePhotography.com. After we click create, Lightroom is

  • going to go ahead and create a new catalog for us, and the first thing we are going

  • to want to do is import all of our photos from the real estate shoot. I have put

  • them in an originals folder, and once we click on it we can see all of the photos

  • from the shoot. Now this is actually a good photo shoot to go over because there

  • are a lot of color issues with lighting so we'll make some adjustments during the

  • post processing example here to kind of show you some of the things you can do

  • to help solve some color temperature issues. What I'm going to do is, we can

  • see all of our brackets here. I've got seven photos for this particular frame,

  • I have seven more down here, and what we are going to do is we are going to go

  • through and we are going to uncheck photos that I don't need. Photos that I

  • don't need are going to be ones that are way underexposed or way overexposed. So

  • I'm going to go ahead and uncheck the ones that are underexposed, because we probably

  • don't need them. It's not going to hurt if we have them in there, but the least amount

  • of photos that we pull in, the quicker it's probably going to run, and I know

  • just based off experience that I don't actually need those lower exposures. Now

  • you can try them if you want... What I'm actually doing here is when I'm clicking

  • on a particular frame, I'm holding shift and I'm clicking on my second frame, and

  • then I'm hitting the tilde key, that's right underneath escape. The top left.

  • That's the shortcut to uncheck those photos that you have selected. So let's

  • go through here and uncheck these. Now this one right here, this photo here

  • just from glancing at it, it looks pretty overexposed, but I think it's going to be

  • fine so we are just going to remove these two lower exposed ones and just continue

  • our trend with what we are doing by removing the bottom two. Now this one,

  • this one actually looks way, over exposed to me. So I'm going to go ahead and leave

  • that one out of the selection, and then so I'll be actually removing one that's

  • under exposed and one that's over exposed. Again this is to end up with a five

  • bracketed shot. A five exposure bracketed shot. Same with this one, I'm going to

  • remove the lowest and the highest one. Or the darkest and the brightest I guess

  • you would say. Continuing on... Just going down the list here of all of the photos

  • that I have. Again just if it's.. I'm basically my, what my eye is doing is I'm

  • looking at this exposure, the brightest exposure and I'm asking myself, is it too

  • bright? If it is, then I'll remove it plus I'll remove the least exposed shot. If

  • it's not too bright, if I think a lot of detail is still there then I'll just go

  • ahead and keep it and I'll remove the two under exposed shots in the set. So we are

  • almost through here getting through.. getting toward the master bath here and

  • some of the guest rooms. Now we are to our exteriors. Now, what I normally do

  • with these, is I normally edit usually a single frame, sometimes I will blend

  • them together. It normally depends on the wind. If it's really windy outside

  • I try to use a single frame for editing because when you blend them together

  • if you have trees, the branches and leaves are going to be blowing in the

  • wind so when you blend them together they get blurry. So I'm going to go

  • ahead and keep just a single frame for these. That was the back yard, these

  • two photos here. This last group of three, this is the front shot that I

  • have and I'm actually going to blend these together, so I'm not going to

  • use this one right here because it is so bright and over exposed, but I am

  • going to use this one, and I'm going to use this one and I'm going to

  • blend them together. And that's just a personal preference. You could

  • probably get away with just taking this darker exposure and you would

  • be able to modify and edit this to get to a nice image. But I'm going

  • to go ahead and blend them together. So, after we have all of our photos

  • selected that we want to import into our catalog - let me bump

  • this down a little bit - we are going to go over here to the setting where

  • it says apply during import. And I'm going to click on develop settings

  • and I'm going to go to user presets and click on Auto Lens Profile. Now

  • this is actually a profile that I made during the previous post on

  • setting up the software for post- processing so go check that out

  • to see what it is doing. And for meta data I'm going to select

  • UEP which is my business name which is Unique Exposure Photography

  • that has my copyright information, my name in there and that type of

  • thing. These two pieces of information are going to be applied to all of the

  • photos that we import. So let's go ahead and click import, and it's

  • going to pull them all into our catalog. And we are going to scroll

  • all the way to the bottom. And we are going to start at the end. And I'll

  • show you why here in a second. What I'm going to do is I'm going to actually

  • pull all of our frames and put them into stacks. Because when we have them

  • in stacks, that how the enfuse plugin is going to know which photos to blend

  • together. So, the reason that I go backwards is because A, it's easier

  • the way that the user interface works when I stack these together, when I

  • stack these together it's easier and quicker for me to go backwards. But

  • also, whatever image you have selected first in the stack, so you can see that

  • this one down here number thirty-four, that one is a little bit brighter than

  • this one, one-thirty-three. That, this first image that I selected is actually

  • going to become the top of the stack. So I want the brightest image to be on

  • the top of the stack because that's going to be most visible to me once

  • all of my photos are stacked. Now in order to stack them together, I'm going

  • to go up to, Photo stacking and group into stack. Now I normally just use the

  • shortcut code so that's why it took me a little bit to find this but, if you

  • just want to figure out how to apply that particular shortcut code it will go

  • a lot quicker rather than using the menu. So when I stack them together you'll see

  • that it bunches them together. I have two photos in this stack. And I'm just

  • going to go down the line and for all of my photos I'm just going to stack

  • them all together. So for each room, we just go from the brightest shot

  • to the darkest, and we use our shortcut code, or our shortcut key to group them

  • together. And you'll see that my first image of the stack that I select which

  • is the brightest one, that ends up being the top photo of the stack. And that's

  • what we want because it looks the best, it's easier to see what shot it is.

  • So after we have all of these stacked together, now what we are actually

  • going to do is we are going to go through and adjust the color

  • temperature. So, I'm going to start and I'm going to right click and I'm

  • going to go to stacking and I am going to expand all stacks. So it's

  • going to open them all back up again. I scroll down to the bottom,

  • and I click on my first photo in the stack and I hold shift and I click

  • on the second one, so I'm selecting both stacks. I'm going to go ahead

  • and click on this photo right here so I have that one selected, and I'm

  • going to go to develop, and once this pulls up, I'm going to make sure that

  • at the bottom here, that it says Auto Sync. If I click this little toggle

  • switch and it says Sync here, that means that it is not going to Auto

  • Sync the photos that I have selected. So I want to toggle it to make sure

  • it says Auto Sync. And all I'm going to do here is I'm going to adjust

  • the color temperature. Now it actually looks fine, so I don't really need

  • to do anything. OK so when we move over to our first set, again I'm going

  • to click on the first exposure here in this stack, I'm going to hold shift

  • and click on the beginning exposure over here. So I have all of the photos

  • in the stack selected. I'm going to adjust the white balance by clicking

  • on the eye dropper tool and clicking on something that I know is white

  • from the photo. And then I'm just going to make some personal adjustments

  • based off of how it turns out. You might prefer something warmer, you

  • might prefer something cooler. Clicking on the eye dropper is just a way to, as

  • a starting point, and you as the photographer can make the further or

  • more detailed white balance adjustments as you see fit. Again, make sure that

  • you have Auto Sync showing here or else it will not sync across all your

  • photos. So I'm just going to go through and click on to adjust the temperature

  • for some of these. Now, sometimes what happens is, since we aren't using

  • any additional lighting here, and we're just using the light that is available

  • to us, we will have a lot of cold light or blue light that comes in from outside.

  • And it can put a lot of blue into our particular photo. Now this one is not

  • too bad, but you can see some of these areas up here get a little blue. The

  • way to fix that, is you can go down to saturation, and you can hit and take

  • down the saturation of the blue channel. Now obviously if there are a lot, if there

  • is a lot of blue in that particular room, if the walls are blue, or if the

  • furniture is blue, you want to be really be careful on how much you actually make

  • that adjustment because you are going to be making that adjustment to the entire

  • blue channel. So I'm just looking to try to find where to put the eye dropper

  • tool and that looks OK but it just looks a little purple to me, so I'm going to

  • drop, drop it down, add a little green into it. And again this one, just based

  • off of looking at these thumbnails, I can see quite a bit of blue in there.

  • It's not too bad, but it's enough to make me want to come down and go to

  • saturation and knock it down a little bit. And again all of those settings

  • are going to be synced across all of the photos.

  • You'll notice in this one here I actually have my camera showing. One of the tips

  • that I can give you is if you doing a bathroom where you have no choice

  • but to be in a mirror, try to be in the mirror where the background is a

  • solid color. You can see here that the background wall here is solid, so

  • that's going to be really easy for me to take this piece of equipment out

  • in Photoshop. I'm not going to do it in Lightroom and I'm not going to do

  • it right now. After we blend this photo together and we have it looking

  • the way we want it, then we'll make that final step to remove that tripod

  • out of there. This is a good example of a lot of blue

  • showing, we can see it on the floor here and coming in through the windows.

  • And you can really see it down in these thumbnails. So again just go down to

  • saturation and knock down the blue channel by quite a bit.

  • Now I'm actually going to make a minor adjustment here to this photo. My

  • temperature photo that I just set was for this interior space right here,

  • this living room. However off into the distance we see a kitchen. I'm

  • going to want to adjust that kitchen to change the temperature just a little

  • bit, just so it looks a little bit more natural.

  • So we come into our adjustment brush, and we select temperature for the effect,

  • and we are going to knock it down by quite a bit. And then we go ahead and

  • just paint in here, like so. This doesn't have to be perfect, we are going to adjust

  • it here in a second. You can hold ALT to get to the minus brush so you can

  • remove some of the stuff that you painted if you over painted a little

  • bit. And we don't need to go that blue, but if we add some purple it

  • will help balance it out a little bit. And you can actually down here, hit

  • this toggle switch so you can see the before and after. So it's not that

  • much of a difference, but it makes a difference in the end.

  • This is another example where we are sharing two spaces that have different

  • color temperatures, so I'm just going to make a minor adjustment here, just

  • to try to even it out just a little bit.

  • OK now that we have adjusted the white balance for everything, I'm going

  • to go ahead and right click and go to stacking and collapse all stacks. And

  • I'm going to select all of them, but I'm not going to select the two single

  • frames that I have. However I could leave them selected and nothing would

  • happen but I'm going go ahead and deselect them so the only things that

  • I have selected are the photos that I'm about to process, with

  • enfuse. So what I'm going to do is go to file, plugin extras, blend

  • exposures, and if I had taken the front shot with a pole, and I knew

  • that it wasn't steady, and I knew that I had to align it, I would not

  • have it selected in this batch. I would do it separately. But because

  • I know that everything was shot on a tripod and frame to frame my tripod

  • did not move at all, then I know I can go to auto align, I can leave

  • this off, because it will go quicker without having to align everything,

  • and then I go ahead and click Enfuse. Now while it's going, you can see it

  • up here in the top left, going through the enfuse process, I actually go through

  • and modify or start to edit the exterior photos. So let's go ahead and

  • go into develop, and let's click on the first one here. And I'm going to modify

  • the temperature a little bit, just based off of what I'm seeing with my eyes. Just

  • get it to how I want it. And then for an exterior, what I normally do is I go

  • through and I pump in a lot of contrast, go up to maybe thirty, I'll pull the

  • highlights way down, because we have a lot of the sky that's blown out.

  • I'll boost the shadows way up to about eighty, to add, or to lighten

  • up where it was dark. I'll take the blacks down to about a negative five,

  • the clarity up to maybe twenty or so, and for an exterior photo I may bump

  • up the saturation up to five or so, not too much. Again this is all going

  • to be based off your personal preference. You are going to build what people

  • recognize as your photos, and you are going to learn that as you go. So use

  • my example as a starting point but definitely make sure that you come up

  • with your own way of processing the photos and putting them into the look

  • that you want. You might not look how mine turn out and that's perfectly

  • fine, but come up with what works for you and stick with it.

  • Now I'm going to boost the exposure just a little bit here to make this a little

  • bit brighter. I usually pay attention to the histogram a little bit, I want

  • stuff to come over toward the right side because I want it to be bright.

  • I'm going to go down to my luminance and I'm going to lower my blue channel

  • a little bit, just to pull in all of the blue in the sky. Because if

  • I can save the sky, that saves me a step of having to put a new one in.

  • So I'm going to lower it down a little bit. If you want you can adjust the

  • saturation of it to make it a little bit stronger of a blue color, and

  • that looks pretty good. If I wanted I could go to the adjustment brush,

  • I could click on effect and go to shadows, and I could adjust my

  • shadows to around twenty to thirty, just depending on what works, and

  • the good thing with Lightroom is you can just paint over stuff and

  • adjust the value here after you are done painting over everything.

  • But if I wanted to lighten up these pieces that were in the shadow I

  • could do that now, it looks to bright to me so I'm just going to

  • lower it down. And we can see the difference by

  • hitting the toggle switch. Again it's not much. And if we need to

  • add a little bit of more contrast just to make things stick out

  • better then that's fine too. And that looks fine, that's how I would

  • deliver it to the client. So now let's go to the second one. And

  • I can just tell by looking at the brick, that this is too green. So

  • I'm going to adjust the tint, to add a little bit more purple in

  • to help even it out. And again we are just going to come back,

  • pump in a lot of contrast, take down the highlights, probably not as

  • much this time. But shadows, almost always go up quite a bit on shadows.

  • Especially when I'm doing just a single frame like this. Now if I

  • blended some together, I probably wouldn't have had to use so much

  • shadow, but we'll see when we do the front shot.

  • Now I'm going to come in and grab my shadow brush again, and just

  • brush some of this in just so it's a little bit brighter.

  • And if I want, while I have that brushed in, I could bump up my

  • exposure, just a little bit. You don't want to go too high, because

  • the higher you go, the easier you'll see where your brush marks are.

  • So you don't want to use it too heavily. And then if you want you can always

  • go into your highlight adjustment brush and I could paint over this because

  • that's my brightest spot, and then just drop the highlights down a little

  • bit, to like thirty or so. Let's see the before, and the after. You can see

  • how that darkened it up by doing it that way. Brought a little bit more

  • of a sky in. And that looks good to me. So what I'm going to do is I'm

  • going to click back over to the library and we are still going here, we are

  • still enfusing all of our brackets together. So when it's all done, I'll

  • come back and show you the next step. Alright, after Lightroom is done

  • enfusing our brackets together, it's going to expand all of our stacks

  • and we are actually going to notice that, we see this is between two

  • stacks here, and we actually don't see the blended image in this particular

  • stack. We see photo two, three, four, five, six.. but we don't see that

  • blended image. The reason being is because we have over here selected

  • previous import, and we need to actually select the folder or directory where

  • we saved everything. So I'm going to go ahead and click on originals over

  • here and that will populate all of our blended images into our library.

  • Or at least populate it into our library view. So I'm going to collapse

  • all of my stacks, because what it did was it blended all of the images, and

  • then it put the blended image, on top of the stack. So everything that we

  • are now looking at, is the blended image from Lightroom enfuse. From

  • the plug in. Now what I'm going to do is I'm going to bulk edit these and

  • process them. And so I'm going to do the interior first. So I'm going to

  • click on the first one, and have the remaining interiors selected, and I'm

  • going to click on develop. And what I'm going to do is I'm going to start

  • by adjusting my exposure up to about point eight, and that might need to

  • be adjusted here because that looks really bright, but I'm going to continue

  • on because you never know what's going to happen after my other edits.

  • My contrast I'm going to go to twenty. My highlights I'm going to drop them

  • down to anywhere between negative forty and fifty, you can even go a little

  • bit more if you want to sixty. Shadows I'm going to pump them up but not

  • too much, we'll just put them at fifteen. And then negative five again for blacks,

  • and for clarity I'm going to put it at twelve.

  • Now this actually looks pretty good to me, it might be just a tad on

  • the bright side, so I might drop my exposure down to point seven. So now

  • what I'm going to do is because we have auto sync selected, these settings

  • all got adjusted to all of the photos that I had currently selected. So now

  • I'm actually going to select only the first one, and there's a shortcut for

  • that, for command d, or alt d or option d depending on how you have everything

  • set up on your computer, and if you are using a mac or a pc. But I'm going

  • to go to the first image and I'm going make any minor edits that I think need

  • to be made. And usually the only thing I do is I fill in some shadows.

  • I'll either adjust the exposure for this particular image, or, and/or I'll

  • adjust the shadows in particular spots. So I'm going to go ahead and put about

  • twenty on my shadows on my adjustment brush and I'm just going to brush in

  • this area just a little bit. And that's about it. And, I'm going to call that

  • one done. So now I'm going to go to the second

  • one. And again I'm going to brush just these dark corners in a little

  • bit, just so they are a little bit brighter. And I'm about done here.

  • I'm going to adjust the temperature just a little bit on this one. It looks

  • a little bit too purple and I want to warm it up a little bit.

  • Alright, so now let's move on. Again this one looks good, but I'm

  • just going to adjust some of the shadows. Nothing major. I have a, these, I think

  • it's probably picture frames or something sticking in over here, so

  • I'm just going to crop those out. And I'm actually going to, I'm

  • going to crop it out over here on the other side, there's a little

  • shelf over here too. But I did notice when I did that I kind of cut this

  • arch off so I'm just going to pull my photo down and instead of cropping

  • from the top, I'm going to crop from the bottom. So we can still see

  • everything here that we intended to see, we can still see the top of the

  • arch so that's not cut off any more, but we got rid of these little tiny

  • distracting pieces. And if you go in and you fill in some

  • of these shadow areas and it doesn't seem like it filled up too much, you

  • know feel free to boost it up a little bit. And don't ever be worried about

  • adding a little more contrast if you need to, because once you add in, or

  • fill in some of those shadows, you are going to be removing some of that

  • contrast between bright and dark, so feel free to add some of that back

  • in if you need to. Now this actually looks, just my first glance on looking

  • at this, it looked a little bit too purple, so I'm going to bump the

  • tint down a little bit, and the temperature just a tad. Maybe bump

  • that back up to negative five. That looks a little bit better. And again

  • I'm just going to have my shadows brush and I'm going to go through

  • and hit all of the dark areas. Which sometimes could be most of the image

  • but you just want a nice result. And I'm actually going to bump the exposure

  • of this one up to eight. Bump that one up to nine. Do a little bit

  • of shadow work. Again it doesn't take much, just a quick swipe, with a low

  • amount, and it'll boost it up. Now this actually looks, the color

  • balance on this doesn't look very good, so since I'm on my shadow brush I'm

  • going to go ahead and finish with it before I switch over to something else.

  • But it's, the temperature just doesn't look right. So I'm going to drop it down

  • a little bit. And adjust my tint just a tad. And then I'm actually going to

  • take a brush, because I, I like how the majority of everything looks,

  • except for right here on this little island. So I'm just going to take a

  • brush and just adjust the temperature of this piece. And it's not much,

  • again just the little tiny corrections can make a lot of difference.

  • Now this one seems really dark. So I'm going to pump this up quite a bit, and

  • I'm actually, it looks like it gets really dark when we head off to the

  • right of the image, so I'm actually going to select the gradient adjustment

  • brush and I'm going to choose exposure, and I'm going to pump it up just a little

  • bit, and then when you drag it, it will pump up just that side. And again we can

  • go and add a little bit into the shadows just to brighten some things up

  • a bit, otherwise it looks good. Moving along.

  • This one same thing, this looks really dark. I'm going to go ahead and adjust

  • the shadows here but it's going to need more than that. So I'm going to

  • click on new, because once I have this particular brush filled in and once

  • I've made some adjustments, I have to click on new in order to start a new

  • brush. So I'm going to go to exposure, and I'm going to fill in this whole

  • area like so. And I'm going to brighten these up here

  • in a little bit. I don't want to mess it up by using this particular brush,

  • but.. I'm going to create a new brush, do a

  • little bit more shadow stuff over here, just to brighten that up just a little

  • bit, not much. Now this is one of those deals where,

  • the shadow brush is working but it's just not as much as I want it to. So

  • I'm going to pump it up, maybe add just a tick or so to the exposure.

  • Again don't go, you don't want to go too far or else you'll really be able

  • to see where you make those adjustments. And we don't want that. We want it to

  • look as natural as possible. This is another one that is going to need a

  • bigger adjustment than what I'm doing right now. But it's good to always

  • start small, start with the shadows, bump them up, and then move on to

  • bigger and better adjustments. I'm just going to put a little bit more

  • exposure just around the sofas and the coffee table, just to brighten

  • them up, just a tad. Still haven't done anything different

  • here, just adjusting the shadows where needed.

  • Now this bathroom, this room was actually really dark, and this bathroom has a

  • really bright window shooting into it. So, this obviously, went, or became

  • over exposed when we blended them together. So what I'm going to do is I'm going

  • to continue adjusting just this bedroom for now, just to brighten it up just a

  • little bit more. And them I'm going to tackle that

  • bathroom on its own. So I'm going to adjust the exposure, I'm going to drop

  • it down a little bit, take the highlights down. Now one of the things, I did this

  • previously but I wasn't talking while I did it, but, when you make an

  • adjustment, the brushes in Lightroom are round, so it's really hard to make an

  • adjustment for something that's square, like a door frame. What you can do is

  • go beyond the square with your brush adjustment, and then you can just take

  • the minus brush, and wipe away the excess.

  • And that's all I'm going to do for there. It doesn't need to be perfect to see in

  • there because I will have a shot coming up shortly that we are going to edit

  • of that bathroom itself. Now if we were using lighting, we would have a much

  • better result there. But we aren't, we are stuck with doing, just blending

  • exposures together so that's what we end up getting. And you could if you

  • wanted, you could pull that, pull a couple of frames in to Photoshop

  • and mask in that particular area, that's definitely a possibility.

  • Here is an example of, see where you can see the brush marks that I have,

  • when I adjusted the exposure on this? We don't want that to show up like that.

  • Now this looked a little bit, compared to the previous shot, this one looked

  • a little bit warmer, so I'm going to bring the temperature down just

  • a bit and bump up the exposure just a little bit. I'm constantly when I'm

  • going from one shot to the next, I'm keeping in mind, in general what it

  • looked like and, am I matching exposure across shots. Because at the

  • end of the day, I want them all to be as even as possible. And we'll be able

  • to go through and look at them here in a little bit. And back to this,

  • remember what I said, we are going to leave this in here for now, we'll

  • adjust it out here in a little bit. For these bedrooms like this where

  • there, there's not any furniture, we usually don't have to do any

  • shadow adjustments or anything in here, we can just bump up the base

  • exposure where needed. I'm going to crop out that door

  • handle that's over here on the right hand side. It doesn't help the image

  • at all and it just takes away. Maybe boost up the shadows just a little bit

  • in there but, it's not going to make that much of a difference.

  • Alright now let's take a look at taking out the tripod that we have

  • in this particular bathroom photo. So the easiest way to remove this

  • tripod out of this shot, is to actually pull it in to Photoshop,

  • so that's what I'm going to do. So I'm going to right click on

  • the photo, I'm going to go to Edit In, and Edit In Photoshop. It's

  • going to ask me if I want to edit a copy with the adjustments, or

  • edit a copy, or edit the original... I'm going to stick on the first

  • option which is edit a copy with Lightroom adjustments. I click

  • edit and it's going to export the photo, it's going to pull it in

  • as a new photo on top of the stack, so it's going to save the original

  • there, and it's going to open it up in Photoshop. And what I'm going to do

  • is I'm going to click on the clone stamp tool and I'm going to zoom in. And

  • I'm going to select, I'm going to hold ALT, or option, and I'm going to select

  • a part of the image that I want to clone. And I'm going to click down, and then I

  • let go of ALT, and now we can see this piece here that I'm going to use

  • to clone, and I simply just paint over my tripod.

  • And now when I zoom out, we can see it did a pretty good job at taking that

  • out. And if I want I can go into the healing brush tool, and select some

  • of that area, and it will help even it out just a little bit. Now you can

  • still see here that we are missing a little bit of the edge of the bed

  • that is in the background. So what I'm actually going to do, normally

  • I probably wouldn't do this, but I'm going to go ahead and just remove,

  • grab the clone stamp tool again, and I'm going to actually remove the

  • whole bed, because that will look better than not having an edge to it.

  • There, and so now nobody will be able to tell that there was a mistake there,

  • or that the tripod was there. Alright after I'm done editing, I'm

  • going to go ahead and close this image and click save, and it's going

  • to save in Photoshop now. So now we can see that it added this new image

  • on to the stack, where we do not have the tripod, and that's the image that

  • we edited. So you can see the before and the after there.

  • Now let's jump over to our front exterior photo. Because remember we

  • had utilized two frames to go ahead and blend two of them together instead

  • of trying to fight just a single exposure. So again, same here, same

  • thing here as usually. We adjust the color temperature if we need to. It

  • looks fine to me here. But with my exteriors, I'm going to start with

  • the contrast, I'm going to drop the highlights, I'm going to boost up

  • the shadows, take down the blacks a little bit, and pull up clarity.

  • And then I'll add a little bit more contrast if I need to. I'm going to

  • go ahead and, I'm going to try and darken the sky a little bit. So I'm

  • going to grab just the highlights, and I'm going to go through and brush

  • over that, just a little bit. And this is a little bit bright over here, so

  • I'm just going to sweep over while I have my highlights selected, I'm

  • just going to sweep over those hot spots. And I'm going to make the

  • house itself a little bit brighter. So I'm just going to add, just a

  • shadow brush here and go over just the front face of the house, just

  • to boost it up. Alright everything looks good,

  • maybe add a little boost of saturation. Other than that, it

  • looks good. Now sometimes depending on how you used your tripod, if you

  • pointed up at the house or up at the property, you may have some

  • vertical lines that are not lined up correctly, which is the case

  • here. We can see on the left-hand side this vertical line doesn't go

  • straight up and down, and on the right-hand side we can see it just

  • a little bit, this one doesn't go straight up and down either. So we

  • need to adjust that. So what I do is I click on the crop tool, up in the

  • top left, and we are going to scroll down. And we are going to go under

  • lens corrections, we are going to go to manual, and we are going to adjust

  • our vertical number. We are going to pull it down, until we see based

  • on our eye, that it looks good. And what I'm looking at here, is I'm

  • looking at the property itself, to make sure that all of the lines are

  • as close to vertical as possible. Now we may have to do a little bit

  • of rotating to the right, to get them all to line up. You may have

  • to rotate to the right or left, in conjunction with adjusting the

  • verticals. Now one of the things that we want to make we do is

  • when we do adjust those verticals, we are pulling these corners of

  • the photos in, and so we want to make sure we crop all of that out.

  • So we don't want to show any of that in the actual photo itself. So we

  • make our crop selection on what we are going to end up delivering to

  • the client, we hit enter, and that's our photo. Now, now that we are

  • zoomed in a little bit, I want to brighten this up just a tad. So

  • I'm going to brighten it up a little bit, add a little bit more

  • contrast, and I'm actually going to go in to here, and drag the blues down

  • just a little bit to give it a little bit more punch. Other than that, it

  • looks good. So I'm going to go ahead and click on

  • Library, and now we are back to our thumbnail view. Now what I'm going to

  • do is I'm actually going to put these all in order. There were a couple of

  • photos that I took out of order. I took the front shot last, so that's all the

  • way in the back, so what I'm going to do is I'm going to click and drag it up,

  • until I'm, until I see the single black line, and that will allow me to place it

  • in the front in the library. If you don't get that single line, make sure you are

  • actually on, or in one of your folders. Also another step that could probably

  • solve that, is make sure your sort order is on User Order. That will allow you to

  • rearrange them. Now I'm just going to go through by eye, and see where else I have

  • photos that are out of place. Because I know I had a couple of them where

  • I ended up taking like a kitchen shot some time later. So here is the family

  • room. Here is one right here. I wanted to take one of the staircase, so I'm

  • actually going to put this one, next to this shot. And these two are actually

  • going to move over past this one. Again this is just my preference on

  • ordering the photos before I deliver them to the client. And what I usually

  • do is I usually put the master bedroom shots along with the master bath, I'll

  • put those first, before I put the other bedrooms and any other guest, or any of

  • the guest bathrooms. And I like to divide them up a little bit too, so I'm going

  • to start with two bedrooms and show a bathroom, followed by another bedroom

  • and a bathroom. And this is actually a game room, it was a big game room

  • upstairs, so I'm actually going to show this one first, because I think people

  • may want to see that before they see these other smaller guest rooms.

  • So we are almost complete, now what I'm going to do is I'm actually with my

  • eye I'm just going to look at all of these thumbnails. And just a quick

  • scan to see if anything needs to either be brightened, color adjusted or darkened.

  • Because again, we are going after a consistent look for the whole set. And

  • one thing that pops out is this photo right here just seems a little bit

  • dark to me. So I'm going to go into develop and I'm going to bump it up

  • just a little bit, just one tick. You can't always rely on just the thumbnail

  • itself. However I did find that if I looked at the thumbnails and made some

  • minor adjustments, it ended up having a more consistent look amongst all of

  • the photos. Once I'm all done, now I need to export these to deliver them

  • to the client. So what I'm actually going to do, is I'm going to click

  • on the first photo, I'm going to select them all, make sure I'm under

  • the library module, and I'm going to scroll down to meta data, and I'm

  • going to find the title field. And I'm actually going to name this after

  • the property address. So you can see here when I created the catalog, I

  • created it in twenty fourteen of January third, the property address

  • is one two three main stree in McKinney, Texas seven five zero

  • seven zero. So I went ahead and just put the address, city state and zip

  • for the title. And what this is going to do is if you go back to the setup

  • post that I shared earlier, it's actually going to utilize this title

  • when I export these photos. So now what I can do is I can go, I can right

  • click, I can go to export, I can click on Full, and then I can also right click,

  • go to export, and click on Small. We made these export presets in the previous

  • post during setup. And so what it's doing now, is it's going to export according

  • to those settings. And it's going to place our photos in the spot that we selected.

  • We had chosen the original source folder. So let's go take a look and see where

  • that is. Now this is where I have my catalog inside this main directory, so let's

  • go ahead and open it up. Originals is where I placed all of the source files, all of the

  • source folders. Or the source, source photos. So that's where this export is going to take

  • place. So if we go inside we can see we have a full folder, and we can also see if we

  • scroll down to the bottom we have a small folder. So we are just about done here, I

  • can see with my Lightroom icon, our little progress

  • bar is just about done. And there it goes it's done. So now if we click on our small

  • folder and I put these in list view, we can see what it did. It labels them

  • according to number, and it puts the property address in the filename, and it adds small

  • to the end. Now if we were to open these up, we can see that it shrunk them accordingly.

  • And we can scroll through all of the photos to see in there. And the same thing holds

  • true with the full size. Except now they are the full size instead of being shrunk

  • down. So now we can go ahead and package those up and deliver them to our clients.

  • If you have any questions please feel free to reach out to me at

  • TipsForRealEstatePhotography.com. I hope you enjoyed this tutorial on using

  • Lightroom Enfuse to properly process real estate photos.

Hi this is Lance, with TipsforRealEstatePhotography.com.

Subtitles and vocabulary

Click the word to look it up Click the word to find further inforamtion about it