EXPOSURE BLENDING FOR REAL ESTATE AND ARCHITECTURE PHOTOGRAPHY - A "MUST HAVE" SKILL!

hi guys anthony turnum architectural photographer here firstly let me say thank you so much to everyone who's been watching my architectural photography videos and just responding so positively and thank you for all the questions that you guys are firing my way i really appreciate it i'm currently working on this photo as part of a series for a client at the moment and while i was doing that it dawned on me what one of the most absolutely fundamental things is that you need to know as an architectural photographer and that's how do you capture a high contrast scene we've all been there shooting an interior much brighter outside much darker inside you want to showcase the exterior and the interior do you do it with flash do you do it with hdr multiple exposures how do you do it well in this particular example i've used luminosity blending and i really love that technique and i don't use that every single time sometimes i'm using flash and ambient together sometimes using hdr through aurora is a much better approach but this is certainly a skill you need to know if you're into architecture or real estate photography it also applies equally to landscape photography this is super important guys so if you're not familiar with luminosity blending or how to do it please pay attention during this video it can be considered quite complex because there's a little bit of masking involved but if you follow along my goal is by the end hopefully you will understand it perhaps you'll have to watch the video twice to get your head around it completely but i'm going to do my best to explain it so before we jump into the example that i'm going to be working on let me just show you how this works so basically this is my original frame this is a mid exposure capture we have far too bright highlights going on up here with the lights and we've lost all detail outside they've got such a beautiful view off into the distance over the city it's absolutely stunning but we can't see it you also can't see the detail in the tiles or underneath the cabinetry here but then using a single frame for the shadow exposure i was able to reintroduce some shadow detail and then at the same time i was able to do the same thing but for the highlights here that gave me a base to work with that had the shadows right through to the highlights taken care of that i was then able to do a quick retouch on and that's just comprised of dropping of the curves and introducing another frame out of the window there before i took that into luminar for my final finishing touches i've explained how i use luminar as my finishing touch many times in other videos this is our before this is our after i really just want to focus on the luminosity blending of how we bring in the shadows and the highlight detail in this video so the photo we're going to work on is from the same house and it involves this image here and as a finished piece i'm pretty happy with this this is just about good to go back to my client this is my base layer which has had some editing done in lightroom to it but there are still two areas which i would say are problematic one is over here in this room on the right this is too dark this is our shadow area where we're just dropping off into darkness and that's no good so i've taken care of that with a shadows layer and that is just affecting that area and it's really easy to do but like i say slightly complicated but easy to do i just want to show you at this point what we're achieving so stay with me so that's the shadows and then if i turn this group on here you look out of the window to the left hand side as i turn this on and i turn it off on we've got our detail outside brought back in and then as a finishing touch i just run it through with one of my one click presets in luminar to give us this nice finished result that i can send back to my client so let me turn that layer off and let's see what's involved to get us from here to here now i'm going to use this photo as an example because i like the fact that we've just got two areas to deal with one for the shadows one for the highlights so hopefully that will be easier to understand the process so i'm going to jump into lightroom now and show you what i captured on site here we are inside of lightroom and these six photographs that i have selected here are all of the exactly the same position with the camera just with differing exposures so first of all let's consider the problem again if we go to one of the mid exposure photos something like this or like this we could say we've got a really nice exposure for the kitchen just this central part of the image but that's all it's far too dark over here and it's far too bright over here on the left hand side so if i were to drop the exposure for example all the way to the left we can start bringing back some detail outside but we're still blown out here the colors are all muddy they're not very accurate it's not a good look if i'm to do the opposite and brighten the exposure and have a look in our room over here you'll see that we're adding so much digital noise because we're trying to boost up the shadows the file itself in this single capture just doesn't hold enough information to retrieve the highlights and the shadows and this happens so much in architectural and real estate photography so we really need something in our toolbox to help us solve this problem for sure i could run this series of exposures through aurora hdr and be done just like that but i want to show you the method that i use in photoshop that just gives you a little bit more refined control so let's reset that and go from here in order for this to work you need to have a different exposure that's going to work for each part of the image you need a base layer which is going to give you a really good starting point basically the majority of the photo is going to be made up of that and so for this example i think this is a really good option a good way to tell if you've got a good starting point is to look at your histogram and without any other alterations in lightroom we can see that we have a good distribution of data from the shadows all the way to the highlights we're peeking out just a little bit here outside of the window and if we turn our warning on we can see exactly where that is but we can certainly see from the histogram that for the majority of this photo the data exists in a pretty good place in the histogram the next thing we need to do is find a photograph that's going to represent the exterior of the property quite well this is the darkest shot we've got and i feel like this is just a little bit too dark and then we've got this one which is a really nice representation for the exterior but we're still a little dark inside but then if we move up one more stop one more level of brightness you can see that we're starting to blow out the highlights again so let's go for this one here and you can see that i've put a flag on this one so i've picked this image by using the p key on my keyboard so i've picked this one that's going to take care of our highlights i've picked this one which is going to be our base main exposure for generally most of the photograph and then to take care of our shadows we've actually only got one other exposure which is this one here it is a little bit odd that i've got six rather than seven or five exposures you normally end up with an odd number you have your base starting exposure and then you'll have one above and one below or two above two below so it's a bit strange that i don't have a brighter one than this because i actually want to see more into this area here but that's okay if i start boosting the exposure you'll see that we do actually still have quite a lot of detail in there unlike the other one so to make this nice and easy to see what's going on i'm actually just going to delete those other three photographs because we don't need those and i'll shift click on those so we've selected them all and then press n and now we can see that we have our three different exposures what we want to do now is get our image looking as good as we can inside of lightroom before we take it into photoshop for the luminosity blending so i'm going to start with our base layer and i'm going to come into the develop module and i'm starting with a flat profile i like to do that because straight away a flat profile is giving us a little bit more dynamic range than if we would go for something like vivid which assumes that you just want a lot of contrast in your scene i would sooner have control over my contrast and add it in myself because as you can see without making any adjustments we've already lost all that data in the background here in the blacks and also we've pushed the whites even more nuclear outside so i would suggest coming into the camera matching profiles and finding the flattest profile that you have available to you in my case that's camera flat camera neutral is a pretty good option but basically i want to go as flat as i can can you see how the difference between neutral and flat flat just gives me just a little bit more information into those shadows already so we'll start working with that i'm happy with the white balance and the exposure for this midpoint here i might just drop it down just a tiny bit i normally bring the highlights down and boost the shadows just a bit and then i want to bring my whites up now you might think this is odd because we're talking about bringing back detail where things are blown out so why would you want to bring the whites up well it's all about getting contrast through the center area here like if we look at this area only you can see that the whites aren't pure white here sure we've got a little bit of the highlight going on on the tap there but basically overall inside here we don't have too much contrast so i just want to address that and i can do that by bringing the whites up and bringing the blacks down and that's what i'm talking about when i say controlling the contrast ourselves rather than letting the profile drive it i might add a smidge of clarity because i normally find that works quite nicely for architecture whereas you certainly don't really want to be doing too much of that for portraits of people architecture and all the detail that you have in the grains of the wood and things like that normally handles it quite well also the same for the dehaze slider as well but i go a lot softer with that i don't want to push that too far we can also add a little bit of texture i don't like to do too much with that because i leave a lot of that kind of work to luminar and the ai inside of luminar because it does a much better job than just applying it globally through lightroom in terms of our vibrance and saturation i don't really want to add too much because i feel by adding that contrast we've already added a bit more saturation tone curve i may just have a little look at this perhaps i might want to bring the exposure back up just a little bit by boosting the mid tones and i can see by making the changes i've done i'm starting to lose a bit of detail in the blacks through here so i'm just going to revisit this area here and bring the blacks back up just a little bit maybe bring a bit of contrast in and i'll say that's a good starting point for the bass exposure but as you can see whereas we look good through the center of the frame we've lost all that interest and detail in this room in the corner and that's really important to the architect and the builder and also outside of the window we don't want that blowing out or going on nuclear if i press my backslash key we'll see where we came from originally for the in-camera capture and this is where we've got to so the only thing i've done that you didn't see on camera was just straighten these verticals and horizontals so taking it from that to that and the reason that i've actually got these converging horizontals is because i've had to turn the camera to the right so that i could actually pick up this room here i know one of you watching this right now will be thinking well if you shot this with a tilt shift lens you'd be sorted that is very true but i don't own a tilt shift lens so using lightroom's guided transform tool uh is all i needed for this one so if i press tap backslash key again we will see this is where we've got to the next thing i want to do is copy these settings to the other two photos so i'll just control click on those and just synchronize everything so i'm gonna click synchronize and that way i know all the things like color balance sharpness the profile that i applied everything like that is consistent across these three photographs and now i can come in individually and start working on them and make sure they're in a good place so that when we do our luminosity blending everything matches so this is the image we're going to work on for the highlights now what you want to do is make sure you can see the highlights but the areas where it's going to blend into the rest of the home you want to get those tones as close as you can to that original that we were just working on without losing that detail out of the window so here's the challenge let's see what we can do first of all i'm going to drop the contrast and you can see as soon as i start dropping the contrast we start getting the white interior back just a little bit i'm also going to boost the exposure up and i'm okay to do this because i know that this actual file these highlighted red warnings we can recover those we couldn't in the other file but i know this one actually contains that detail so if you see i push the highlights down to the left there we've got those details back now i'm going to grab the shadow slider and push that up and you can see by moving the shadow slider left and right basically the only place that's really affecting is the interior of the home i have zero concern for what the rest of this photograph looks like the only area that concerns me is this little area around the kitchen and the kitchen window here that's all i'm looking at we've got a little bit washed out outside so i'm just going to bring that contrast back a little bit and bring those whites down a little bit too so now i'm pretty confident that we'll be able to combine this area here using luminosity masking and luminosity blending with the photo that we were just working on before now we're going to work on the living room area which is really really dark at the moment because it's set so far back here the light really is just disappearing it's just not quite making it into that back corner so let's select our brighter exposure and we're going to do the same thing that we did on the photograph where we were concentrating on the highlights outside of the window here we're going to do a similar thing to this photograph here but this time we want to bring up the brightness values through here in the living room whilst not going overly exposed through this area in the home because you want the tones in the areas that are going to blend in to be similar to your original base layer so for this one i'm going to boost the shadows i'm going to drop the blacks down a little bit just so that we're keeping contrast in there i'm going to bring down the overall exposure just so that we're not getting too bright in the actual kitchen area itself and now i'm going to get a radial filter and i'm going to pull that over here and that's going to brighten up that living room area i may push this even further i feel like we're getting a little bit washed out here so we'll just increase the contrast as well we can bring up our whites just to a point where we're starting to get the warnings appear and perhaps just bring the blacks down ever so slightly so now we've got a nice bit of contrast if you forget every other bit of this photograph and you just focus purely where this radial filter is this part of the photo looks quite nice we've got good exposure nice bit of contrast and if we compare that to our original photo where we've pretty much got a black hole in there we're in a much better place with this version looking at it again i think we might just be a little bit overexposed with it so i'm just going to bring down the brightness just a little bit and now we're just about onto the fun part of combining and merging these photos in photoshop but before we do that i really really want to get this through as to why we've prepared the files in the way we have so bear with me i am going to just review these files let's turn off these little warning marks so we can better see what's going on we have our base layer this is the photograph that i've tried to get as close to what i would like to send back to my client as possible we've done minimal shifts of highlights and shadows like we've moved things around to get them looking good but we haven't gone too extreme because we want our photograph to still have a sense of realism about it we don't want a false faux hdr look about things but when we've processed the photo in this way we have two areas which are problematic the very dark right hand side in the room here and the very very bright area out of the window here and so we've done two files which are going to talk into those areas one being this one which is going to talk into the shadow areas here if we look at this photograph as a whole it looks pretty flat pretty ugly and almost looks like an hdr photo itself but the only part we care about is this area through here on the right hand side the center part of the photograph that we dealt with before that looks ugly out of the window completely blown out no good so now let's have a look at the photograph that we shot for out of the window and now this image looks great for out of the window but it's far too dark for the interior so now comes the part where we're going to combine them together so i'm going to shift click on the final photo so we've selected them all and i'm going to right click and come to edit in and open as layers in photoshop right at the bottom here in the background before you could see the version that i'd already finished for my client but we're going to redo that so you guys know exactly how i do this and as these are loading again i just want to stress just how important this technique is if you're interested in architecture and real estate photography so so important and so valuable to learn this so if you're thinking oh this video is getting a little bit long i'm a little bit bored just invest the time seriously you need to know this when i first got my head around this technique and how to use it i was like mind blown this is an absolute game changer so the first thing i want to do is rename the layers so you guys know what's going on for the bottom layer that one is our shadows layer the central one this is our base layer and this version here is for the exterior and i will call that highlights so let's pull the base layer down to the bottom and hide the other two it really doesn't matter which area we work on first but i'm going to start on the highlights so let me turn that on and off just so that we can see what we're dealing with we'll zoom in a little bit okay i'm going to turn this layer on and i'm going to put a mask over the top of it so hopefully you guys know how masks work but just in review if something is white on the mask it means that we can see through the mask and we can see everything that's on that layer so in this example currently this mask that's here it's doing absolutely nothing if i get a brush and i start painting with black and let's go for hundred percent just so that we can see exactly what's going on here if i start painting over this you will see that now we're actually hiding wherever i'm painting we're hiding the layer that we're on at the moment which was the darker one and now we can see through this black area here to what's underneath so effectively what we want to do is have a mask which is pretty much all black except for one area which is out of the window and what i'm doing at the moment is just painting this out really roughly just so you get an idea of sort of what we're headed towards and if you want to see your mask and what it actually looks like just hold the alt or option key and then click on the mask and then you can see your mask so don't panic this is not luminosity masking i'm purely doing this for demonstrative purposes so just look out the window this is without this layer on and now when i turn it on we're just getting the darker part of that photo which is out of the window showing up now so as i flick that on and off you can just see that's exactly where that's appearing now the problem with trying to paint a mask is that it's very inaccurate so if i get this white brush and i start trying to paint back in here just to bring that darkness back oh no we've you know it's not looking good so now i can start painting with black now i'll press x to switch to my black and i can i can try and feather that in really nicely and be accurate but this is not a good way to deal with masks there's a much much better way and for luminosity masking this is the way to do it i'm going to show you that now so if i turn that off and on you can see what we're trying to achieve but we need to do it more accurately you might think that oh well maybe the best way to do that is to get the polygonal lasso tool and start drawing around the windows you know so that you can make a mask that way again not the best way to do it you've got other things going on down here like you've got little reflections of this area here that all needs to be brought back as well you don't want to have that blowing out and although we're just dealing with this area in this photo in other photos oftentimes there will be other areas where you've got overexposed areas and you need to bring those back so for example the lights here they're very white at the moment we might want to bring some detail back in those lights down here on the floor just this little triangle where the sun's coming through here we may want to bring a little bit of detail back there and we can use the layer that we have here to do that if i press shift and click on this mask that will just deactivate the mask so again we can see this is the layer that we're dealing with and if i option or alt click on it we can see that's the mask that i created what a terrible mask so let's put that right whenever you're working with masks i recommend you press d on the keyboard and that will put you in your default white and black colors and then you can use the x key to toggle between what the foreground and the background color is so if i toggle white to the foreground and fill the mask then it's filled with white and we see all of that layer again so how are we going to reveal that just in the brightest parts well i'll show you well it's done through a very very useful feature called apply image so come up here go image and straight away did you see that change what apply image does is create a black and white version of your photo and apply it to the mask so anywhere that's bright i.e out of the window that will remain white or close to white will go black and therefore not show what's on that layer if i invert it it will go the other way around but that's not what we want to do we want to talk into the highlights and the layer that we want to reference is our bottom layer our base layer because that's where the brightness is out of the window so we want the mask that's being created we want photoshop to know please base the mask on this layer where it's really bright out the window so come to layer and choose the base layer and straight away we get a little bit more information and detail out of the window now and click ok oh my god that looks so great well no it doesn't again this is where we have to train ourselves and train our eyes to realize we are only interested in one part of this photo and that is this area out of the window we've basically flattened out all the other highlights if i turn this off and turn it on we've basically destroyed all our whites in our photo and that really isn't what we want but the area we do want out of the window here just watch that and we'll go from completely blown out and i'll count down from three to one and you'll see it switch to how we want it three two one boom that's how we want it out of the window so how are we going to get that just here without reverting to what we were doing before which was basically painting on the mask because as soon as we start painting on this mask again we're going to ruin what effectively is a very very detailed mask i just pressed alt option and clicked on that mask so you can see that mask in full effect if we say well we don't want the mask in the kitchen in other areas and we start trying to paint again we're basically back to square one of what we did before which was a very rough and inaccurate way of masking so let me press ctrl z and undo that and tell you the best way to do this so the alternative that we have rather than trying to just paint over that area we're going to use the mask that we just created with apply image but we're going to do what i call double masking which will be keep this mask intact and then add another one over the top where we can be much more rough and ready basically we're going to create a group and again i will rename that so that you guys know exactly what's going on we'll call that highlights and i'll drag this layer in and now what that enables me to do is add a whole nother mask to this group so now i've got another mask there obviously it's doing nothing because currently it's white so what i want to do is fill it with black so now all we can see is our base layer again so if i turn that off and on all we see is our base layer but now what this does allow me to do is get a white brush and i'm going to be able to paint in roughly over the window and that's going to reveal the more detailed mask that sits underneath so watch this i'll click and start painting and now for sure we can refine that just by uh painting in maybe with 50 and just feather that off up there we'll just feather it in this corner as well and obviously we don't want to dull down this bench top too much either so we can just feather that off and now at this point if we want to we can use other tools like the polygonal lasso tool just to just quickly select along here you know just along the bench here just to make sure that that's pure black in the mask and none of that effect that we applied is showing through so i know this probably seemed like a really really long thing to do but i just wanted to explain it along the way if i was doing this myself in my own workflow this would probably take me no more than 30 seconds to do this part of the image so i'm taking my time here just to explain it to you guys so if there's other areas where you want to utilize the highlights like i showed you there was a little highlight down on the floor here now what we can do is just come in and roughly paint in that area the same with the lights up here we get our white brush and just do a little click on the lights and just bring a little bit of detail back there if you find that this layer is bleeding too much into other areas of your photo like the mid tones what you can do is actually up run that apply image again on that layer mask so you can come up and go image apply image keep all the settings the same and if i toggle that off and on with the preview just look on the right hand side at the layer mask on highlights and you'll see it goes from how we had it to a much sort of more contrasty version so that is an option to you but if you look out of the window as i turn that on and off one of the issues with doing that is sometimes you lose a little bit of contrast by doing that so if you want a more subtle look out of the window by all means go for that and also you won't be getting so much bleed of that darker layer coming through into the interior i'm undecided which way i like it so what i'm going to do is split the difference and apply it but with 50 opacity rather than 100 click ok and just so you can see what we've done again let's turn this off and then turn it on again and you can see that we've been able to recover all of those highlights outside of the window so this is a really great way to control a high dynamic scene and do it manually with the ultimate control so now we're going to use the same technique but we're going to bring up the shadows here so basically we have our layer which has the detail that we want for this room but we don't want to bring this effect back through the whole image we just want it really through this room particularly and perhaps we may want to bring a little bit of it back just in some of these other shadow areas but the great thing is we're going to have that option to do that what i like to do before i start working on my mask is just toggle the layer off and on and i just glance my eye around the image into those shadow areas and just start asking myself is there anywhere else that could benefit from an application of some of this layer so perhaps the chairs along here the top part of those uh that are very very dark in the original perhaps even the oven over here i've been looking at that the oven is very black but then we can see into those shadows and see the details so that might be worth bringing back a little bit of detail there so let's select the layer and we're going to add a layer mask and this time i'm going to fill it with black and if you want to fill with your background color press control and press delete so now that has filled my mask with black basically hiding this layer completely so now anywhere that is white or we paint white we will be able to see that layer below so basically if i start painting we can now see straight into that room in this instance because i also got the interior of this particular photograph to very much match our original photo i'm able to paint much more loosely because where the brush goes over the edges this table in this layer doesn't look too dissimilar to the table in the original layer so that blend and that merge looks much more believable whereas if you remember in the highlights layer that we had before in order for us to get that detail outside it meant that the interior was still very dark very black and that made it harder for us to blend that in so i could probably get away with the addition of this layer just with a really rough painted mask like that i do want to show you guys that apply image again just to help cement it because that is the key technique that plus the double masking that's what's going to give you the ultimate control to bring back your highlights bring back your shadows and actually create an image that has a full scope of dynamic range right the way through it yet still look believable so let's fill this layer with white and we can see everything about this layer now so even though it's got a mask on it we see through the mask being white with the mask selected we're going to come to image apply image and we're still on 50 from before so let's change that back to a hundred and hopefully you guys can see what the issue is at the moment we are bringing back the wrong parts of this image if i turn the preview off and on basically you can see that we're not doing anything here we're not bringing back the detail in this room and the reason for that is we are basically creating the inverse of the mask we need it's going to be revealing the brighter parts of this layer and hiding the shadows so we want the opposite of that so what we're going to do is invert this layer so watch when i tick this all of a sudden we've got all of that shadow detail come back so if i turn it off and i turn it on there you go we've got all of that lovely detail in that room available to us and i'm going to click ok and just like last time when you apply it through the whole image things can start to look a little flat and that's certainly not what we want so we're going to create that double mask again i'm going to create a grouped layer drag the shadows layer into that i'm going to call it shadows just so we know exactly what's going on and now i'm going to create a layer on top of that what we want to do is hide everything about this layer so we're going to fill it with black so i'm going to go ctrl delete because black is my background color and now i have the liberty to grab my big fat white brush and just start painting in the areas i want the opacity of my brush is currently set to 50 and that's fine because what i can do is actually paint that in in stages where i want it so let's turn that off and turn that on and look at that we've still got all our lovely contrast through the main part of the image in the kitchen and then i turn that on and boom we can see right into the depths of that room and that's fantastic now i mentioned before that we might want to bring back a little bit of detail in the oven we can do that i'm going to use the left bracket key to reduce the size of my brush and then just do a couple of dabs with the mouse on there i might want to bring back a little detail underneath there perhaps on the top of the chairs like we discussed and i'm doing that with 50 opacity so it's not at its full intensity so if i show you the mask that we created on the shadows there you go look at the precision and detail of that mask there is no way we are going to be able to paint that ourselves so basically using apply image in an inverted mode we were able to create this really super precise mask which is saying everywhere where it's white bring back whatever this layer has on it which in this case is the shadows so we're bringing back all of the shadows exactly there but we don't want it everywhere in the image there are only certain areas which are problematic to us and that's where the second mask which i will highlight for you here that's where this mask comes in and this is one that i've painted and that is just an absolutely rough and disgusting thing of a mask but i was able to do that because we followed that process of image apply image and let photoshop take care of the precision mask and then i could just get really rough and ready and just paint it back in where i wanted so look i'll hide that and now show it and just like that i've just brought back the shadow details just where i want it if you want to refine things further you can like i feel like out of the window here things aren't as perfect as i would like so what we can do is use the apply image command in conjunction with traditional tools so what i might like to do here is just create our quick selection mask and just go around the window there like that and now with the white brush just for here i'll press zero so i can get to a hundred percent opacity and i'll just really quickly paint that in and now we're just going to get that nice full contrast out of the window whilst maintaining those beautifully smooth gradations that we created in our mask so i'll collapse those groups down and what we can do is just turn them off and turn them back on again and you can see exactly exactly what we're doing so here's a pretty good base exposure but we've got that problem out of the window let's turn this on boom so all of a sudden we've taken care of the highlights out of the window and we've also brought back a little bit of detail into the lights and also on the floor here and now we have ultimate control if we feel like that's just a little bit too dark perhaps a little bit unbelievable now we can grab the opacity of that whole folder and just start to ease that back to a point where we feel it's more believable perhaps somewhere around that 75 percent mark might be what we're after the same for the shadows let's turn those on and turn them off again turn them on i'm happy with that edition and i know that the designer and architect will be too if i were to send back this version here where it's all dark and you just can't see what's going on there they're not going to be super impressed with that they want to see all of those lovely details that they've worked hard on in terms of finishing this image off there is more that i would like to do but that is certainly for another tutorial so that's it in a nutshell that is luminosity blending guys let me know in the comments whether or not this was helpful to you i really hope it was i've tried to explain it the very best i can if this did make sense to you please write in the comments made sense that would mean the world to me and if you remember guys we started off looking at this bathroom shot here if this bathroom shot is something that you would like me to demonstrate to you how i took that from this to this and actually finished my edit i'm happy to do that just write bathroom in the comments i finished this shot and i finished all of my shots off just with a one click preset in luminar i won't go into that here but if you guys want to get hold of luminar i've got a discount code which is at sky 10 and there's a link to that in the description below so help yourself to that guys and i will catch you in the next video thanks so much for watching bye for now you

Channel: Anthony Turnham

Views: 25,630

Keywords: Photography, Photo editing, editing, Lightroom, Photoshop, Post Processing, post production, photography editing, Adobe, Photographer, Photo education, Photography education, landscape photography, HDR, architecture photography, architectural photography

Id: R0jegPzMAZs

Length: 35min 49sec (2149 seconds)

Published: Fri Apr 23 2021