Nice work there! Two things woth concidering about your workflow; 1. correct the perspective first using lightroom (guided) - you can copy and paste it to another donor photos if your first selection is lacking 2. import the files to photoshop as smart objects so you can fine-tune white balance and exposure. Hardest thing about the process is batch developing the images and with these two tips it's much easier. Cheers!
you can use the camera raw filter in ps to keystone image... no need to do it in LR... camera raw filter gives access to everything that is in lightroom in photoshop!
Aside from the whole tutorial being really cool showing a lot of neat tricks, I love the final crop in 16x9. Since every camera shoots 3x2, or 4x3, I think too many people get stuck using those crops, or maybe 8x10. But with screens being 16x9 generally for computers and tv, we know it's a good ratio, and I think it looks great for photos as well.
3:00 You can also flash at the windows, overexposing the interior, and then use darken mode to blend it. Commonly referred to as a “window pull” 6:00 Highly recommend opening as smart objects in photoshop and then dragging them in. It can save a lot of time if colors / exposure needs tweaked
Interesting window pull technique if I needed to capture the actual view. Obviously for this shot the concrete dock wouldn’t cut it. Good idea with smart previews
@@MichaelRoachWV i have followed nathan cool and i use this technique. But if you want to cancel the outdoor scene and use a sea, you must select manually, or not? maybe with interval color selection??
@@fabiofieri854 I haven’t tried swapping, but a plug-in to check out is Lumenzia. It’s specialty is luminosity-based selections. I haven’t tried it for this use-case, as with houses you can’t really swap the views lol. My guess is you could use the “window pull” layer to select the overexposed interior, then invert it to select JUST the windows
One thing I've learned doing Real Estate photography is you can make a great image awesome if you dodge and burn.. once you done with everything dodge and burn it, it elevates the image like you wouldn't believe.
Nice work! So, as a "full time interior yacht photographer" (or something like that), I have found a shift lens is invaluable, like a 17 T/S, with the sometimes odd heights of things. And getting the boat off the dock is definitely essential for those window views! And it looks great to put a photo of that boat on the tv...
@@FStoppers why would you want to do that?! It's often said, true success in the marine industry is transitioning out of the marine industry! 😆 😪 But if you really want to do it, move to Fort Lauderdale.
Great! Wow, don't forget to include subtitles in all videos. Facilitates understanding for someone from another country like me. Thank you and congratulations!
It's much better to increase the shutter speed for your flash shot rather than stopping down (assuming that you're not already at your max sync speed, which if you're shooting at f8 and ISO100 is unlikely). Stopping down hugely deceases the power of the flash which is a problem if you're in a bigger space or only using a speedlight. This problem occures constantly in real estate (not having enough flash power), which is why we shoot at around f7.1 - f8 and ISO200-400 (rather than say f11 and ISO100). It's all about that flash power baby! (it helps having an 600watt studio flash if you really want to be a lighting badass). Also, by changing the f-stop between images you're also changing the sharpness of different exposures and the look of the diffracted light, which isn't the biggest deal but it's something take note of.
I assume you stopped down to f22 so you could slow down your shutter speed to have time to manually trigger the flash because you weren't using a remote flash trigger?
Very good editing, and it also confirms how incredibly unintuitive Photoshop is, there is no way to figure out stuff just by playing around with it, at least for me :)
Nice result, thanks for the explanations. I think i would have closed the bathroom door. and erased the electric cord on the right. You could probably have also recentered the speaker on the ceiling.
Lmao, I see everyone is giving you PS tips, so let me add one more! At 11:05, you start dragging the guides (and then skewing the photo) to get a level shot, but if you use the geometry section in camera raw you can drag two lines for vertical and two for horizontal and it'll automatically do it for you. It's wildly efficient! Even if you forgot to do it initially, you can use Camera Raw as a filter to do it to the final image.
I'm not a purist that has to get it right in camera. I feel like I can just crop in and get the same results as a tilt-shift with only a slight loss in resolution. With this job, the images will never be printed, they will only be on the web so I probably need about 1MP/images but I'm ending with a 20MP+ files. So for me and most jobs, I don't care to use a tilt-shift.
TS-E are very important tools in architecture photography, but with each job there's a place for ultrawide prime/zooms and that's small spaces like toilets or warderobes. You'd rather shoot most of images with 24 or 17 but slapping something like 11 or 12mm for those shots will save you a ton of time during etiting (HDR panoramas shot with TS-E are nightmare to work on)
How do you get rid of the fog when using long exposures? I get a lot of fog when i try to photograph bright days and open windows. I also think that maybe you wouldn't need an extra light, you could just turn on lights and open windows. You are not at backlight, the light comes from the side. And make photos with open windows + lights and open windows with no lights.
You don't understand the point of a flash. The point of the flash is to nurtrailse color temperature variation. Turning all the lights brand you have multiple different light sources mixing and combining to create a mash of bad colors
@@homewardboundphotos I do understand it and still think is not that necessary, I'm a professional Architectural & Interior Photographer. The temperature variation is neutralized since the production, I turn on only warm lights, then only the other lights, in other just day lights and in other all the lights. When I shoot day photos I don't turn on lights unless it helps me to lit some objects that would hel me in the postproduction process or if the client wants the photo with lamps turned on, mostly for real estate, but for architects and interiors they prefer day or night photo. In post production I choose which photos I need and try to get the basic white balance in all of them, trying to neutraliza this color variation, blues or oranges. I bought a Godox Continuos light just for ocassions when I'm at backlight and the lights of the project doesn't help me that much. But in the 95% of the shootings, I haven't need a flash or an extra light. Even Mike Kelley doesn't use that equipment.
@@aldobelenda907 huh well, im also a professional real estate photographer and I use a flash to and do luminosity blending to balance the colors, so the exact opposite as you. different stroked for different folks i suppose I personally despise the clash of different lighting temperatures, and the lights cast by interior fixtures give the walls texture.
Dude the reason you get "fog" in your images when you do the long exposures is because of the physics of light (and also to a degree the quality of your lens). This is why we use a flash - to control the ambient light and knockout all that highlight bloom around the windows to get a crisp and sharp window view. You also get the benefit of colour correction and balancing the interior/exterior light to make it easier to edit the photo. Depending on the house and lighting conditions, I bet the window area in a lot of your imagesdosn't look great.
This is good in theory but as someone who's been photographing all sizes of yachts for 7 years I can't imagine having this much time to spend shooting or editing a single image. Especially if you're shooting video and/or charter lifestyle scenes at same time. Unless the wood is really dark simple bracketing and outsourced window masking is the way
HDR can't create new light. It can't fix windows and it can't add highlights like the one from the bathroom. It can balance a set of bracketed shots but it will never look as real as using real on location light and masking it in manually. -P
Hey I like how practically you use photoshop. But, according to the final image you created, you can enjoy the beautiful view as you lay down in the bed. But it is not the reality. What is the point here? Thanks.
Of course you can enjoy the view as you lay on the bed. We wound up shooting this image while at port so the obstruction was the pier. If the boat was docked starboard side or out at sea this room has a very clear view of the ocean. -P
In commercial or advertising photos is acceptable to cheat or trick a little bit to make the photo more interesting so you can sell the product. Sometimes I am against but you need to know what the client needs
The title of this video should be how I Photoshop the small rooms, not how to photograph the small room, this deceptive information rather do it by camera alone and not relying too much on faking it in the computer. 😢
Nice work there! Two things woth concidering about your workflow;
1. correct the perspective first using lightroom (guided) - you can copy and paste it to another donor photos if your first selection is lacking
2. import the files to photoshop as smart objects so you can fine-tune white balance and exposure.
Hardest thing about the process is batch developing the images and with these two tips it's much easier. Cheers!
you can use the camera raw filter in ps to keystone image... no need to do it in LR... camera raw filter gives access to everything that is in lightroom in photoshop!
Aside from the whole tutorial being really cool showing a lot of neat tricks, I love the final crop in 16x9. Since every camera shoots 3x2, or 4x3, I think too many people get stuck using those crops, or maybe 8x10. But with screens being 16x9 generally for computers and tv, we know it's a good ratio, and I think it looks great for photos as well.
Fstoppers Store Sale: fstoppers.com/store?fsa=305&fsc=6
Is there any kind of special bundle price for Where Art Meets Architecture 1,2,3,4 ?
HUGE HELP FOR ME !!! EXCELENT JOB !!! GREAT INFORMATIONS ! SIMPLE EXAMPLE ! THANK YOU ! GOD BLESS Fstoppers
Lee, you know you can hit ALT and click between the adjustment layer and underlying layer to pin it as a clipping mask right? -P
Great video! Made me miss the CTC with Mike Kelley, hope you do another one soon!
3:00 You can also flash at the windows, overexposing the interior, and then use darken mode to blend it. Commonly referred to as a “window pull”
6:00 Highly recommend opening as smart objects in photoshop and then dragging them in. It can save a lot of time if colors / exposure needs tweaked
Interesting window pull technique if I needed to capture the actual view. Obviously for this shot the concrete dock wouldn’t cut it.
Good idea with smart previews
@@FStoppers The "window pull" technique also keeps you from having to manually cut out windows, definitely worth it if you have a strobe.
@@MichaelRoachWVthe tried and true Nathan Cool method of real estate photography!
@@MichaelRoachWV i have followed nathan cool and i use this technique. But if you want to cancel the outdoor scene and use a sea, you must select manually, or not? maybe with interval color selection??
@@fabiofieri854 I haven’t tried swapping, but a plug-in to check out is Lumenzia. It’s specialty is luminosity-based selections. I haven’t tried it for this use-case, as with houses you can’t really swap the views lol. My guess is you could use the “window pull” layer to select the overexposed interior, then invert it to select JUST the windows
One thing I've learned doing Real Estate photography is you can make a great image awesome if you dodge and burn.. once you done with everything dodge and burn it, it elevates the image like you wouldn't believe.
Thanks for this tutorial. Great work.
Nice work! So, as a "full time interior yacht photographer" (or something like that), I have found a shift lens is invaluable, like a 17 T/S, with the sometimes odd heights of things. And getting the boat off the dock is definitely essential for those window views! And it looks great to put a photo of that boat on the tv...
Thanks for commenting. Any tips on how we can use this commercial we filmed to get the next job?
@@FStoppers why would you want to do that?! It's often said, true success in the marine industry is transitioning out of the marine industry! 😆 😪 But if you really want to do it, move to Fort Lauderdale.
really cool. unique workflow compared to how I do things. Love seeing different approaches, and the final image is wonderful
Great!
Wow, don't forget to include subtitles in all videos. Facilitates understanding for someone from another country like me.
Thank you and congratulations!
I think google creates subtitles automatically overtime right?
Yeah. They’re there now.
This was a great video. Loved the open in photoshop as layers tip
Love that tutorial, more like this please :)
Thanks!
It's much better to increase the shutter speed for your flash shot rather than stopping down (assuming that you're not already at your max sync speed, which if you're shooting at f8 and ISO100 is unlikely). Stopping down hugely deceases the power of the flash which is a problem if you're in a bigger space or only using a speedlight. This problem occures constantly in real estate (not having enough flash power), which is why we shoot at around f7.1 - f8 and ISO200-400 (rather than say f11 and ISO100). It's all about that flash power baby! (it helps having an 600watt studio flash if you really want to be a lighting badass). Also, by changing the f-stop between images you're also changing the sharpness of different exposures and the look of the diffracted light, which isn't the biggest deal but it's something take note of.
I assume you stopped down to f22 so you could slow down your shutter speed to have time to manually trigger the flash because you weren't using a remote flash trigger?
That was dope!
wow great result!
Very good, I still don't all of it, but amazing!
Very good editing, and it also confirms how incredibly unintuitive Photoshop is, there is no way to figure out stuff just by playing around with it, at least for me :)
Literally how everyone learned Photoshop before RUclips 😂
Wonderful tutorial - thanks for this 👏
Nice result, thanks for the explanations. I think i would have closed the bathroom door. and erased the electric cord on the right. You could probably have also recentered the speaker on the ceiling.
Great tutorial
That new Laowa 10mm would have been nice here :)
Fantastic video!
Great video!
I like this tutorial on how to photograph small rooms.
I like this comment on a video on how to photograph small rooms.
@ I like this approval of a comment on a video on how to photograph small rooms.
@I like when people reply to comments about liking a video about how to photograph small rooms.
That's Sunreef Yacht! Great to see a yacht from my country - Poland. Do you also shoot a video with this yacht?
Lmao, I see everyone is giving you PS tips, so let me add one more! At 11:05, you start dragging the guides (and then skewing the photo) to get a level shot, but if you use the geometry section in camera raw you can drag two lines for vertical and two for horizontal and it'll automatically do it for you. It's wildly efficient! Even if you forgot to do it initially, you can use Camera Raw as a filter to do it to the final image.
I forgot about that though I wonder if it would work for a room that isn’t square
The window work was definitely impressive. It turned out nice. Would you have still chosen the 12-24 if you had the option of a tilt shift lens?
I'm not a purist that has to get it right in camera. I feel like I can just crop in and get the same results as a tilt-shift with only a slight loss in resolution. With this job, the images will never be printed, they will only be on the web so I probably need about 1MP/images but I'm ending with a 20MP+ files. So for me and most jobs, I don't care to use a tilt-shift.
Yes. But why does he call the Yacht a Yard?
@@FStoppers 👍🏾
TS-E are very important tools in architecture photography, but with each job there's a place for ultrawide prime/zooms and that's small spaces like toilets or warderobes. You'd rather shoot most of images with 24 or 17 but slapping something like 11 or 12mm for those shots will save you a ton of time during etiting (HDR panoramas shot with TS-E are nightmare to work on)
Madlad Lee using the lens flare filter without cracking a smile, and within the same layer instead of using screen mode 😅
I'm curious, how's the Mac been for you? Are you a convert now?
Any tips for taking pictures of a room to make it look smaller then it actually is?
Wow
How are you white balancing, exactly? You're not just eyeballing it, are you?
TFTI!!
Someone didn't want to get ND gels 😅 Might as well make a video out of it. I don't think you've done that yet.
Might have been less trouble to take the (undoubtedly existing) builder's CAD model, and CGI it from the keel up :)
It's a good point but somehow every good architect want a real photo rather than render
How do you get rid of the fog when using long exposures? I get a lot of fog when i try to photograph bright days and open windows.
I also think that maybe you wouldn't need an extra light, you could just turn on lights and open windows. You are not at backlight, the light comes from the side. And make photos with open windows + lights and open windows with no lights.
You don't understand the point of a flash. The point of the flash is to nurtrailse color temperature variation. Turning all the lights brand you have multiple different light sources mixing and combining to create a mash of bad colors
@@homewardboundphotos I do understand it and still think is not that necessary, I'm a professional Architectural & Interior Photographer.
The temperature variation is neutralized since the production, I turn on only warm lights, then only the other lights, in other just day lights and in other all the lights.
When I shoot day photos I don't turn on lights unless it helps me to lit some objects that would hel me in the postproduction process or if the client wants the photo with lamps turned on, mostly for real estate, but for architects and interiors they prefer day or night photo.
In post production I choose which photos I need and try to get the basic white balance in all of them, trying to neutraliza this color variation, blues or oranges.
I bought a Godox Continuos light just for ocassions when I'm at backlight and the lights of the project doesn't help me that much. But in the 95% of the shootings, I haven't need a flash or an extra light.
Even Mike Kelley doesn't use that equipment.
@@aldobelenda907 huh well, im also a professional real estate photographer and I use a flash to and do luminosity blending to balance the colors, so the exact opposite as you. different stroked for different folks i suppose I personally despise the clash of different lighting temperatures, and the lights cast by interior fixtures give the walls texture.
Dude the reason you get "fog" in your images when you do the long exposures is because of the physics of light (and also to a degree the quality of your lens). This is why we use a flash - to control the ambient light and knockout all that highlight bloom around the windows to get a crisp and sharp window view. You also get the benefit of colour correction and balancing the interior/exterior light to make it easier to edit the photo. Depending on the house and lighting conditions, I bet the window area in a lot of your imagesdosn't look great.
This is good in theory but as someone who's been photographing all sizes of yachts for 7 years I can't imagine having this much time to spend shooting or editing a single image. Especially if you're shooting video and/or charter lifestyle scenes at same time. Unless the wood is really dark simple bracketing and outsourced window masking is the way
Also the shot won't be sharp past a second or so given the engine vibrations and/or if the boat is moving so I bump up the iso
Boat was parked. We had to shoot interiors before the lifestyle shoot started or else it would all be trashed. -P
@@FStoppers Yeah thats a good move. Damn models leaving their suitcases everywhere lol
Something we all do every week at least 😂😂😂
clipping mask is not that far away I think. Anytime you look for it, I feel that there is something wrong
Why don't u shoot in HDR, and then use aurora hdr,, eg.
HDR can't create new light. It can't fix windows and it can't add highlights like the one from the bathroom. It can balance a set of bracketed shots but it will never look as real as using real on location light and masking it in manually. -P
MY HOME STUDIO IS REALLY SMALL
I'll never afford those tutorials :(
“Pin” tool
What do you mean by this?
Hey I like how practically you use photoshop. But, according to the final image you created, you can enjoy the beautiful view as you lay down in the bed. But it is not the reality. What is the point here? Thanks.
Of course you can enjoy the view as you lay on the bed. We wound up shooting this image while at port so the obstruction was the pier. If the boat was docked starboard side or out at sea this room has a very clear view of the ocean. -P
you know boats move, right?
In commercial or advertising photos is acceptable to cheat or trick a little bit to make the photo more interesting so you can sell the product. Sometimes I am against but you need to know what the client needs
The title of this video should be how I Photoshop the small rooms, not how to photograph the small room, this deceptive information rather do it by camera alone and not relying too much on faking it in the computer. 😢
This is how every high end architecture and real estate photo is created -P