Interiors & Architecture - ON1 Recorded Webinar

you I'm just gonna grab this photo and I'm gonna head into my edit module and the reason I'm grabbing this photo is because it's really underexposed and I actually shot it underexposed because I wanted to maintain all of the details in my window here well I shot it raw and if you are going to shoot a photo I have an interior and you don't want the windows to be blown out and you only want to shoot one single image and you want to modify it shoot raw because it'll give you all of that raw data in these shadow areas so that you can quickly pull them up without actually adding in a bunch of noise that you need to get get rid of later so over here inside online photo raw is our tone and color and since I was shooting raw I'm going to have this little camera profile and this is going to allow me to choose a different camera profile for this photo I'm actually going to go down and I'm gonna choose on one neutral and the reason I'm choosing neutral is because it kind of gives it just a neutral look you know it's a little bit flat there's not too many harsh shadows there's not a lot of contrast it's kind of just a neutral flat looking photo and because it's raw it gives me all of that raw all of the raw power in the photo that I can modify to pull out all the mid-tone shadows and some of the blacks without actually pulling out and blowing out these windows so now that I've switched my camera profile than neutral I obviously want to bring out some of these shadowy areas in my shot well the first thing I do is I'm actually gonna head down into my contrast and I'm actually gonna pull that down and you'll see that by pulling that down it's actually revealing some of those darker tones in my photo and I'm actually doing this so that I can pull back on the contrast so that I don't actually have to pull up on the exposure as much because you'll see that when I pull up on the exposure here it's bringing in light into the windows and it's not bringing in a ton it's just bringing in a little bit and that's because we shot this photo so underexposed this is allowing us to play with all of these shadow tones without actually blowing out these windows so now let's go and let's just pull up on the exposure just a little bit more that looks pretty good like right there and that's only by using two different sliders so we've used our contrast slider and our exposure slider here so not a lot of time we've you know brought out the life in the shot and we still have a few different sliders to go so now I just want to pull up on the mid-tones which is basically the gray in my shot and you'll see that by pulling up on those mid-tones I'm actually pulling up a lot in these window areas that's because a lot of the mid-tones in my photo are within these colors in the windows so we'll probably pull it up just to hear more maybe right there boom and now what we need to do is we need to pull out our shadow tones so now if I pull up my shadow tones here there we go you'll see us really pulling out all of those darker areas in my photo without actually blowing out the window areas which is what we want so just to kind of recap that a quick way to pull out a lot of the underexposed area in a photo is to remove some of the contrast this will kind of give you a good idea of how dark your photo is and then modify the exposure a little bit whether you want to pull up on at the tad or pull down on other tad just to kind of set your overall tonality with those two and then you can head down into your mid-tones and your shadows and pull those up incrementally to reveal all of those dark areas in your photo so now I'm going to go down and I don't really want to deal with any of these other sliders inside tone and color for the rest of these we can actually use local adjustments and effects and apply them selectively to our shot so I'm just going to head down into my color area here and you'll notice that this photos a little bit warm when we shot the photo it wasn't quite as warm so we need to actually cool this down a little bit so I'm just gonna head over to my temperature and I'm gonna cool it down a little bit maybe about right there perfect so now let's go over and let's actually head into our local adjustments tab here who actually no let's do effects first let's do a vex fur so I'm gonna head into effects and we'll add some different filters first so the first filter I want to add under this photo I want to apply some detail but I don't want the detail to be applied to the entire image so we'll add a filter and I'm gonna add one of my favorites this dynamic contrast and you'll see that by putting this on our shot here it brought in a lot of nice detail to the photo well I'm actually gonna pull up on the small and on the medium so there's a little bit more intense but I don't actually want that applied to the entire image I don't want it to be applied to these windows because it'll bring more attention to the detail in these areas on the street and then the cars so we want to avoid all of the detail in these windows and kind of make them seem like they're non-existent which I know there are they are but we want to dull them down dim them down we don't want them to be kind of the subject in our shot so what we can do is we're gonna go into our dynamic contrast filter here I'm actually going to invert it and I'm gonna leave those sliders the way we had them with the 21 and the 35 or the medium and I'm actually gonna go down and I'm gonna pull up on the shadows a little bit and I'm actually gonna pull up on the blacks and I'm gonna add a little bit of highlight so now let's grab our adjust or our masking brush here I'm gonna set it to paint in holding down shift and hitting X on my keyboard now I'm going to increase the bracket or increase the brush size with the bracket keys on my keyboard and I'm actually just gonna paint in on these subject areas in my frame who what's up word that fireplace is pretty dark okay so now if we turn this off and on see how much that adds into the photo and really kind of brings in some detail and just a little bit of a shadow boost into these areas that we wanted to pop okay so now what we need to do is we need to modify this photo to kind of correct for the color and one of my favorite ways to do that is by using a split tone filter so let's go in we'll add a filter and we'll just add a split tone filter and the reason I like adding split tone filters is because it allows me to modify the shadow colors and the highlight colors so for example inside the split tone filter we have our highlights color chosen here and we have our shadows color chosen here well I'm gonna go down and I'm actually gonna use this cool one so that I have my highlights kind of this cream green color and then my shadows are a darker blue notice how if I turn this off and on it does a good job of correcting for the color but it brings in a little bit of a haze onto my photo because my mode down here is set to normal let's go down and let's just use color so now it's only being applied to the color in the shot and not being applied to the entire photo so now if I turn this off and on see how great of a job that does of removing all of those orange areas in my walls and leaving this photo basically how we shot it okay so now with that we've applied some detail and we've applied our color correcting split tone let's go in and let's deal with these windows a bit so let's go and I'm gonna add a local adjustment layer I'm gonna make sure it's set to darken I'm gonna increase the temperature just a hair and I'm actually gonna pull back on the haze and now before I paint this on I'm gonna let you guys know that it's gonna be pretty strong and most of the time when I'm painting on local adjustments are effects I tend to paint them on a hundred percent just so that I can see what they do to my shot you can always go back and you can adjust the opacity for your adjustment you can adjust the opacity for your brush so there's a lot of different things that you can do to actually clean up and make it more natural but at first it's pretty easy to see what you're doing if everything's at a hundred percent so let's brush this on our windows here and it might need a little less temperature but it's still doing a good job of removing the haze from the windows yeah we definitely need to remove that temperature the windows weren't as blue as I had expected oops big one there okay so let's go back let's remove that temperature ooh so maybe like two let's just type in two boom that looks about perfect huh okay so now let's just lower the opacity quite a bit and then incrementally pull up on it okay so now if we turn this off and on see how well that does at kind of removing some of that haze from the glass and making it seem like it was a natural transition from the window so this is a great way using your local adjustments to kind of remove some of those blown out areas in your windows especially if it's a bright day if it's a really bright day you're gonna probably have a tough time shooting raw and getting all of these blown out areas in your window for that I would probably recommend shooting an HDR which we're gonna talk about later on in this webinar but using these local adjustments set to darken and then using your hey slider does a really good job of kind of using it almost makes it like a polarizer where it removes the glare from your window so just a tip if you do have blowing out windows and you want to use a local adjustment layer to remove them use your darken and then pull back on your haze and then remember that whatever temperature you're shooting out on your camera if you do go in and you darken it it's gonna heat it up a little bit so remember that you've got to play with your temperature slider over here to make it look more natural so now let's hit the backslash key on our keyboard to see our original photo and voila let's actually add one more filter here let's go in and I tend to add these on - I call them gallery shots but basically shots of a room that are the highlight of it so for example this shot is probably a gallery shot of this photo just because it's not at an angle and it's showing all of the different spaces in this photo I would recommend using this photo for you know like a banner or something on a real estate page because it gives you an idea of what the room is like so for these types of photos I like to add a filter and I like to go in and I'll add a vignette and I'll tend to pick big softy and then I lower the opacity quite a bit but if I turn this off and on maybe a little bit more there we go so now if we hit the backslash key on our keyboard it's a really good job of kind of evening out these tones in the photo removing the glare from the windows and keeping everything you know well exposed are there any questions before I move on to the next photo I know that was pretty quick but real estate doesn't take too much to modify especially if you're shooting a good shot okay so now let's do these photos here and this is kind of a sad little story behind these photos but a month ago Bridgeport brewing one of the oldest brew pubs in Portland shut down so I had the opportunity about three or four months ago to go in and shoot photos for a lighting group in there and so it just seems kind of fitting that we modified these photos to kind of commemorate Bridgeport brewing our IP so let's go in and I have these three auto exposure bracketing a photo and I'm actually going to merge them into HDR and the reason I'm merging them into H start is because when I shot this photo it was pretty bright outside and so the windows are a little bit more blown out than I'd like so I'm using HDR to kind of even those tones out so let's go in and I'm just gonna click HDR okay so now we have our HDR photo and if you are familiar with HDR you're basically going to have this HDR dialog with a preview of your photo then below that you're going to have those auto exposure bracketing together well down here you can actually choose which photo you want as your base exposure so I'm actually going to choose this photo here and to switch your base exposure you're basically going to change this aperture icon and put it on any of these other photos so I'm actually going to use this one and you'll see that it darkened up the photo a little bit well that brought in a little bit more detail from these highlights in the window so this seems pretty good right here I don't want to modify these auto exposure bracketing more but now I want to modify our tone and color and set sort of a basic look for our shot let's go in here and I'm gonna actually choose a different camera profile I'm gonna choose on one neutral again just so that I have is that sort of flat blank canvas to work with you know there's not a lot of contrast there's not a lot of blowing out colors it's just sort of a flat neutral image makes it easy when you're modifying it in photo rock okay so now what I want to do is I want to go in and I want to bring out some of the colors in the shot you know bring out some of the tones because it seems kind of flattening just a little warm and crunchy so let's go in and let's remove the contrast a little bit and I'm actually gonna pull back on the exposure maybe about right there so now let's go in and we'll pull up on the mid-tones shadows watch it going and we'll add a little up on the blocks just a hair okay now what we need to do is we obviously need to fix the temperature of the shot well the great thing about shooting in RAW is that you can always go back and you can modify the temperature and it will change the temperature throughout your photo you know with all of the raw data whereas if you have a JPEG you can change the temperature but it's not going to give you the same result so in my color here I'm just gonna go down and I'm gonna choose fluorescent because I was shot it web sorry I was shooting it in a building with fluorescent lights well it's still a little bit magenta purple to me so I'm just gonna go over and I'm gonna pull up or pull over on the temperature a little bit to cool it down a little bit more I'm actually gonna pull down on the saturation quite a bit till it's a little bit more realistic maybe about 25 cool so now let's go down and I'm actually gonna make sure that I'm opening my photo up inside of effects and now I'm just gonna click Save wait sorry guys so the HDR look the reason I didn't talk about they sure look is because I'm just leaving my HDR look at natural so I'm just leaving it that but if you do want to go in and modify your edshare look it lives up here right next to your tone of color and so you can go in and you can modify your HDR look I'm just gonna leave mine at natural I like how that looks so let's click Save and I might take a second because these are pretty large RAW files but once it merges them together it'll merge them together into an HDR photo and it'll open up in side effects for us so we can start modifying it and adding different filters and really kind of making this photo come to life also if you have any questions feel free to hit up that Q&A module I know we're kind of cruising along here just another couple minutes when this loads this is kind of the downfall of shooting rah though if you are shooting RAW files especially if they're huge it does take a minute for the software to kind of render them and play with them but on the bright side you get all of that raw data that you can modify a lot easier than you can do with a JPEG and I'm not saying JPEGs bet you can shoot JPEG all day but if you really want to have the power to play with those tones in the photo I would recommend shooting in RAW okay awesome so now we have our photo here and that looks a lot better than it did with the single exposures so now what we can do is we can start modifying this photo and applying different filters and making it look great okay so the first thing I want to do instead of applying filters as I'm actually going to fix some of the areas in the shot that need to be kind of toned down and by tone down basically just remove some of the light so let's go and we'll add a couple local adjustment layers here and the first local adjustment layer I want to make sure it's set to darken and I'm actually gonna head up and I'm going to grab my local adjustment gradient and I'm just going to drop this down kind of right in the middle of the frame and the reason I'm doing that is because I want to darken this area up top from my photo because we shot it in HDR and there's actually a lot of kind of details in the ceiling it's revealing all of those details and all of the shadow details in that ceiling and it's kind of distracting to the photo so we're just gonna use this local adjustment layer to bring this up and if we turn this off and on does a good job of kind of removing this area from our photo as such a relevant subject okay so I have a question from Ron said what lens so is a sony 16 to 35 2.8 g master and i'll just type that in real quick awesome thanks Ron for the question okay so back to the editing so now that we've kind of toned down this top area in our shot we want to tone down some of these light areas you know in the windows and then just a little bit of the areas on these seats because they're pretty strong so what I want to do is I'm gonna add a new local adjustment layer set it to darken again remove some of that haze and then pull up on the temperature to about one or two or three then we'll do the same thing we did earlier we'll grab our adjustment brush and we'll just brush this on the windows see how well that does at removing the glare on the windows just by using the haze and like I said you don't have to be too exact with this stuff I mean obviously you're gonna probably brush over if you're using a masking brush but as long as you make it look decent I promise you the realtor will not notice let's actually just add a little bit more haze boom so now let's pull this down pull it up okay and now if we turn this off and on there's a really good job of removing a lot of that haze from those windows it actually looks just like it did when I was standing in there shooting it so again local adjustments are an awesome way to remove a lot of that glare from your windows and just remove some of the light from them too because a hundred percent of the time when you're shooting in interior and there's windows there's gonna be the battle between do I shoot for the shadows in the shot or do I expose for the highlights so one trip one trick would be just simply expose for the shadows or expose for the highlights rather shoot a little underexposed go in and then you can pull up on the shadow tones mid-tones and kind of reveal those darker areas in your shot last thing I want to do this photo before I head in and add some filters is I just want to crop so I'm just gonna pull this in over there I'd be a little bigger so what I'm trying to do here with this crop is I'm actually trying to line this line up with this window and then have this line line up over here so that it's nice and tightly framed one thing about when you're shooting real estate is you want to have interesting framing and interesting composition and it's hard if you're shooting interiors or a room because there's so many lines to choose from well what I would recommend doing is just pick a line whether it's a window or a cabinet or whatever it may be and use it as your frame so now I'm not using this sort of line as my frame over here and it's working well with this beam and then I have this window as my frame on this side and it's working well because there's not a lot of distractions in this area so now if I hit enter it brings in or it tightens up the frame a little bit it removes that TV and it removes this area and it just looks a lot better so that's a good tip when you're cropping for real estate is to think about your composition and think about your framing anytime you can incorporate lines into your photo where there's lines moving around and over to here try to not remove those ones try to stick with just your outside areas to make sure that you have everything in frame okay so I have a question from William Arthur says what lens typically used and if a wide angle do you adjust for vertical alignment yes so I use a Sony 16 to 35 millimeter whenever I'm shooting interiors and one of my favorite things to use if I'm a correcting for vertical alignment is just a head down to my develope I'll head down into transform and now you have all these different options that you can use to either level you can make it vertical whatever you want to do so say I shot my photo and it was tilted back a little bit if I wanted to make that vertical I could pull up on this and you'll see that it'll pull it up and make it more vertical but I would recommend trying to get your photo as straight as possible in frame I would also recommend having a bubble level on top of your camera if you are really concerned about getting it straight we it does help a ton with getting your level straight and getting your verticals straight on your shot okay so Mike asked in on one how do you correct for lens distortion so all of your lens distortion is going to be in this lens correction area and what I've done is I've actually just created a preset style for my 16 to 35 lens so I can just go in here and I can do this sorry and I don't think it's letting me I'll account for a lens correction in this photo because it's an HDR photo and there's three different exposures so I'll just use my Sony 216 and we'll leave it at that so real quick let me just finish this photo and then I'll get to some more of those questions okay so a couple more filters just to kind of go over them again with you guys we'll add another filter and we're gonna add again at the split tone filter because it does a such a good job of removing warm tints from your shot when you use cool again and I'm gonna go down and I'm gonna click color normal and for this particular photo since we did remove a lot of that heat from our photo earlier we probably don't need this as strong so let's go in and we'll just pull back on the opacity a little bit now what we're gonna do is we're gonna add a filter we're actually gonna add a sunshine filter and the reason I'm adding a sunshine filter is because the sunshine filter essentially darkens the darker areas and it brightens the highlights and so when you're shooting real estate and you're shooting HDR because all of the areas are well exposed in all of the areas that are dark you can see it kind of looks flat sometimes or it looks crunchy and unnatural so what you can do to kind of combat that is you can add a sunshine filter so notice how I added this filter and if I turn this off and on see how it makes everything look less flat well that's because it's kind of bringing in a sunshine look into your shot another great way to fix for a flat photo is to add a curves filter so we'll add a filter and we'll just add curves and the reason I like adding curves is because it allows me to bring out all of the different tonality zin my photo so if I'm wanting to modify the shadows I can go down and I have all of this play with the shadow tones in my shot or if I want to modify the mid-tones I can play with the mid-tones in here or highlights or blacks whatever maybe this tone curve is going to allow me to modify all of those tones and the great thing about the tone curve inside photo raw is that you can actually mask and blend it out from certain areas you don't want it to be applied to so let's go and we'll just reset this and one of my favorite ways to bring in a little bit of oomph to a photo is to go over to your curves grab your shadows pull them down a tad then go up a little bit grab this area and then pull it up so now if I turn this off and on see how that added in some nice detail and it brought in a little more contrast to my photo and then I can always pull up on the mid-tones here so if you are looking to make your photo a little less flat I would recommend having the sunshine filter or using your tone curve for now we'll just stick with the sunshine filter okay so another couple filters to add onto this photo here I'm gonna add a filter and we're just gonna add dynamic contrast again and we're gonna make it really natural and we're actually gonna remove the large because we only want the middle I'll turn that up and I'm just gonna brush this in kind of right in this area where the chairs are let's go for that but maybe a little more small there we go and then let's just pull up on the shadows a little bit boom so now if I turn this off and on see that crisped up these areas in here brought some detail and also allowed us to pull out some of those shadow tones so it's just kind of a good reminder that even though these filters do apply a lot of cool style you have the ability to go in and really modify each of these filters to your liking so if there isn't something that you so there is something in this filter that you're confused about I would recommend just playing with the slider and see what it does onto your shot and then just to finish this photo off we'll just add one of my favorite things we'll add a vignette big softie and then just lower the opacity so now if we hit the backslash key on our keyboard does a really good job of kind of just pulling out those shadow tones removing the glare from the windows and then pulling in some detail to our subject area here okay so a couple more questions here question from Ron asking about canon 14 2.8 great glass really awesome glass it is really wide though are you shooting on a crop sensor if you are shooting on a crop sensor I would recommend shooting with maybe a 10 to 18 Canon and I also wouldn't say to think about the aperture as much just because when you are shooting realize that you probably want you know it to be at least like an 8 aperture and 11 just so a lot of things are Oh 5d Mark 3 that's the camera I used to have so you have a Canon 14 on 2.8 on a 5d Mark 3 I'm sure that's a great setup it is a little wide though I'm assuming because it is 14 but no because you are shooting with 5d Mark 3 you could shoot raw shoot 14 and then if you need to crop you could just go in and crop those RAW files and also I didn't use a flash for these photos I have used a flash before but not on these particular images so I hope that helps run I would definitely that's a solid glass right there Canon 14 2.8 it just might be a little bit wide and you might not have that range of you know zooming in because it is a prime but then again you can always crop so okay so I have a question from Richard and it says in Matt K's recent video he said he uses modules and effects instead of using local adjustments what are your thoughts I would like is he talking about applying different styles to different areas on your photo we're just applying maybe like a tone enhancer instead of effects because if you are applying specific adjustments to specific areas on a photo I would definitely recommend using your local adjustments because they're going to use all of the raw data in your image and so if you are shooting raw definitely if you want to modify specific areas go to your local adjustments your local adjustments are gonna be your saving grace for modifying specific areas in your shot especially if you shoot raw but if you are applying like a stylistic look or something definitely go into effects and then you can use these different filters I hope that answer your question I'm not really sure what the video you're talking about was on but awesome guys thanks for the questions keep keep them coming and sorry for those of you that didn't ask a question I'm just answering these but I wanted to get them answered so okay let's get out of this shot here and let's go into this photo okay so this photo the great thing about this photo is that it's going to be super easy to go in and make it interesting that's why I love shooting architecture and real estate is because your subjects don't move they're easy to photograph and their edges are really hard around the buildings so it's really easy to replace this guy so for this particular photo I'm gonna go in and I just want to add a more interesting sky to it so let's go in and we'll do that the first thing I want to do this photo is I want to crop it so I'm gonna hit C on my keyboard and I just want a crop to get this snow out of my photo and this arrow so I'm actually just gonna pull up on the bottom here just like that and now I'm actually gonna level this a little bit so we'll just drag this on a horizon line boom so now let's hit enter and we have our cropped image okay so now we need to go in and we need to pull out some of the detail in this photo here just to make it look a little bit more like it's been edited so I'm just gonna go inside my tone and color here and I'm gonna choose my camera profile and again I'm gonna choose on one neutral so now let's go in and I'm actually just gonna pull back on the contrast a little bit pull up on the mid-tones of hair and I'm actually gonna go down and I'm gonna increase the temperature a little bit just like that so nothing crazy just kind of pulling out the tones in the shot just so that when we do add a sky layer it doesn't look like they're completely different exposures and styles so let's go and we'll add a new layer here extras on one extras going to backgrounds and let's grab her this one okay so now I'm just gonna drag this up make it huge and then pull it down it's lower the opacity a little bit so we can see it okay that looks pretty good from the opacity to 100 now we're gonna drag the sky layer below our base layer we're gonna make sure we have our base layer selected and now we're gonna mask out the background so let's go over to our masking tools and we're gonna grab our AI quick mask tool and the ANA quick mask tool is great if you're shooting architecture outside and you want to replace this guy especially because it does a great job of detecting different tints and tonality so if you do have a sky that's a lot different than your building which more often than not it's going to be this tool saves you a lot of time when you're trying to mask out a large tonal area so when you first grab the a a quick mask tool your modes gonna be set to drop so basically you're going to telephoto Rob what areas in your shot that you don't want to be there well I don't want these skies are the sky area in my shot so I'll just brush the song and now what I want to do is I'm gonna go up to my mode and I'm gonna select keep now I'm just gonna brush the song and then we'll just hit apply and I kind of had to play with this earlier a little bit so we'll see how good this mask does for this one well voila pretty darn good job right there I would say there's a few areas of red in here that we can fix but that'll be easy so we'll just paint this on the areas of pink that we don't want to be there oops and then we'll just brush this on huge Shh and then maybe hear and see how that does then we'll click apply awesome that does a pretty good job we can clean this up later so let's go in here and let's click done so now it's just gonna refine the mask and remove that sky area from the shot and then we can go in and we can start modifying the photo applying different filters to it boom did a pretty good job of doing it right away okay so there's a couple areas we need to clean up in here the first area is up here on the top of a building so I'll click z4r zoom tool and let's just move into that area real quick and I'm gonna clean this up with my perfect brush so I'm gonna hit B on my keyboard I'm gonna go up and I'm gonna make sure it's set to a hundred percent and then I turn my perfect brush on so now I'm gonna make sure I'm set to paint in shift X on my keyboard to switch and now I'll just brush this building back on using my pretty brush and don't worry if you you know if it's not getting it a hundred percent you can always zoom out and you're not going to tell so just get it as best as you can and no one will know the difference so now I will zoom over here fix this railing here what happened to that boom okay so that kind of got janky right there so let's go in and actually paint that back in you know let's refine that so let's zoom out real quick here mm yeah it looks kind of janky over there so let's just go in and I'm actually gonna click refine and we'll just brush this back in it's not doing much you know we'll just do this grab our perfect brush make sure it's set to paint out and we'll just brush this blue stuff out of here okay so now I'll go up and I'll make sure I'm set to paint in or my perfect brush is off and now I can just brush in these little areas that I messed up there we go so we got a little bit of area in here to clean up so let's grab our brush again I'll just set it to paint out hopefully there we go okay whoops gotta make sure I'm on the right layer sorry guys it's kind of a tedious thing when you go to replace guys if it doesn't work out the first time but okay that's probably pretty good you can't even really tell the difference okay so now what I want to do I said I just want to make a nice brush to write across this area here so I'm just gonna hit B on my keyboard you grab my masking brush I'm gonna turn off my perfect brush and I'm gonna lower the opacity to about 15 now I'm gonna make my brush size really big and I'm just gonna brush on this bottom area there we go to kind of blend it there we go so that looks a lot more natural like that oops okay so now what we need to do is we need to actually stamp these two layers together so that we have one layer that we can modify as a whole well first off I'm actually gonna go and I'm gonna pull down on the opacity exposure for this base layer here so that's a little bit darker so that's not so bright from the sky so now let's go and if I want to merge these two layers together and create a complete composite layer that I can modify as a whole I'll just right-click right-click new stamped layer and it's going to take to these two layers duplicate them and then merge them together into one layer that I can modify separately okay so now we can go in and we can start applying different filters and effects to this photo so let's go in I'm actually going to pull up on the contrast a little bit pull up on the mid-tones a hair shadows and I'm actually going to increase the temperature just a little bit so now let's go in we'll go into effects and let's add some detail so I'm just gonna add a filter and I'll add dynamic contrast but I don't want that to be too applied to the sky area I only want it to be applied to the building so I'll invert this and now I'll just brush this on onto my building and we'll pull up on the small a little bit because there is a lot of small contrast so now if I turn this off and on does an awesome job of bringing out that detail in the shot so let's add another couple filters here I'm gonna add sunshine I'm actually gonna pull back on the opacity a little bit it's at another filter split tone warm color and now let's add two more filters and the reason I want to add these two is because I want to add a vignette because I want the viewers eyes to go into the center of the frame so the vignettes gonna cover that but now when we want to add one last filter and it's just to kind of stylize the shot a little bit so I'm gonna add a lots I know that not everybody uses lots but they do bring in a ton of style to your shot and they're really easy to use and I always go to the simple warm and then I just take this opacity and I pull it all the way back and then I just pull it up incrementally and now wha and now watch as I turn this off and on brings in a little bit of style a little bit of boost to the photo and kind of takes down the color a little bit so now we have this sky replace pretty well let's add another filter I'm actually gonna add a borders filter and we'll just fit this image in here oops perfect now let's add a little bit of text let's type in Vista house we can drag this down here and there you go you have a nice little postcard that you made by just replacing a sky and taking a photo of some architecture so I'm just gonna remove this border and I'm actually gonna remove this text just so I can show you guys the before and after so now if we reset this bottom layer so this is our base layer that we were working with before so a good way if you are modifying layers and using them to composite images and replace the sky if you want to see a good before and after go to that base layer that you had that you replace this guy from reset those layer properties that's going to reset the mask so that your sky layer isn't replaced in that photo so now if I turn this photo off and on its going to show me my original shot she'll see you not a lot of time really kind of elevated this photo replace this guy brought in some detail and stylized it so that's one great thing about shooting architecture is most of the time buildings are going to be pretty easy too easy to mask out so that you can go in you can kind of get creative by adding some different components to it whether it be a sky birds or you know applying different filters okay so any more questions here have a question from Richard okay so instead of using local to reduce exposure he would use tone enhancer with an inverted mask and then paste it in the adjustment you could use that I mean I guess it kind of depends on what you're doing so for example if I added let's go back to those other photos no I don't want to save that okay so this will be a good example okay so Richard two questions so let me get on your local real local adjustments one and then I'll move to that other one rich okay so Richards asking basically why why not create the masks in effects and then you can bring them into local adjustments and paste them so yeah you can always do that so if you do have an effect on here if you add a filter say we add dynamic contrast and we apply it to these stools here and now let's say we want to use the same mask to apply settings in local adjustments what we can do is we can head into our masking options here and we can just copy that mask and now let's say hey we want to apply a local adjustment with that same mask I can go into local adjustments and that layer and I can paste that and now I can play with those adjustments to pull out tonalities or whatever I need to do to this shot and then you can keep applying that mask onto any of those other photos or any of those other filters okay so I hope that kind of answers your question Richard I guess it just kind of depends on what you're trying to do with your photo um if you are you know using a tone enhancer filter inside of effects to bring out some of the shadows and stuff that's you know that's fine it just kind of depends on what you're trying to mask in and out on whether you would copy the mask and paste it into local adjustments or create the mask in local adjustments and paste it into effects if that makes sense and then your other question was can you explain why you reduce the contrast and develop so the reason I reduce the contrast instead of développé is because it reveals a lot of the darker tones in the shot sorry let's what do I have Oh local adjustments okay so for example for this photo it's a little bit underexposed right there's not a lot of light in the shot and so if I wanted to pull out some of the darker shadow tones in my shot without actually having to pull up on the exposure slider a bunch I would just go over into my contrast and I could pull back on it and you see how this revealing a lot of those darker tones in my photo so now if I pull up on the contrast I'm bringing in darker tones so by removing some of that contrast I mean you're removing contrast so it's a little bit flat but you're also pulling out shadow tones without actually using your shadow slider or your exposure so that when you do go need to use the exposure slider you don't have to pull up on it as much and then if you want to add contrast you could pull down on your mid-tones you could pull down on your blacks or you could go in and that's where you could use that tone enhancer to add some contrast so I hope that helped alright guys well that's kind of the end of the interiors and architecture webinar okay so Ron ass eye fits with a brown color consistency if you're having problems with color a lot of the times when you are shooting interiors there's gonna be problems with especially woods or walls I would recommend using split tone filters split tone filters really help because they allow you to specifically target your highlights or your shadows or you could go in and for example this photo will go back here real quick so for example it'll just use this shot so it's pretty Brown right there's a lot of oranges and stuff in here you could go in you could add an effect and you could add a color adjustment and then you could target those reds oranges and yellows and you could just modify the saturation oops or you could modify the hue a little bit to make it more yellow or more red and you'll see that there's not a lot more brown tones in here and then we can always go back and we can modify that a little bit more okay so yeah that's some ways that you can fix color again I would recommend using split tone filter if you are having trouble with colors in your photo but color adjustment works also I know a lot of the time when I'm shooting hardwood floors they get really yellow and gross and so I can go in and I can you know remove those specific colors using my color adjustment alright guys well thanks so much I really appreciate all the questions and you guys take it sticking around the whole time so stay tuned for more webinars and have a great weekend thanks guys

Channel: ON1

Views: 2,349

Keywords: Photo Editing, Image Editing, Photo Editor, Image Editor, Lightroom Alternative, Photoshop Plug-ins, Lightroom Plug-ins, Lightroom, Photoshop, ON1, Photo 10

Id: L19kqgK_Eto

Length: 55min 38sec (3338 seconds)

Published: Thu Apr 18 2019