Real Estate Photography Tips Lightroom Post Processing With Enfuse HDR Blending

Subtitles section Play video

Hi this is Lance, with TipsforRealEstatePhotography.com.
And today we are going to use Lightroom to blend some real estate
photos together. Now if you haven't set up Lightroom, I would highly
suggestion you head over to TipsForRealEstatePhotography.com and
look for the post called Software Setup for Post Processing. That should
get you on your way for what we are going to cover in this tutorial. So
let's go ahead and open up Lightroom and we are going to create a new
catalog for this particular job that we are doing. So, I always create a new
catalog within the directory of the particular shoot. So all of my real
estate shoots have their own directory. And I name the catalog after the same
name of the directory that I am putting it in to. You can check out some of my
naming conventions and the way that I organize my files at
TipsForRealEstatePhotography.com. After we click create, Lightroom is
going to go ahead and create a new catalog for us, and the first thing we are going
to want to do is import all of our photos from the real estate shoot. I have put
them in an originals folder, and once we click on it we can see all of the photos
from the shoot. Now this is actually a good photo shoot to go over because there
are a lot of color issues with lighting so we'll make some adjustments during the
post processing example here to kind of show you some of the things you can do
to help solve some color temperature issues. What I'm going to do is, we can
see all of our brackets here. I've got seven photos for this particular frame,
I have seven more down here, and what we are going to do is we are going to go
through and we are going to uncheck photos that I don't need. Photos that I
don't need are going to be ones that are way underexposed or way overexposed. So
I'm going to go ahead and uncheck the ones that are underexposed, because we probably
don't need them. It's not going to hurt if we have them in there, but the least amount
of photos that we pull in, the quicker it's probably going to run, and I know
just based off experience that I don't actually need those lower exposures. Now
you can try them if you want... What I'm actually doing here is when I'm clicking
on a particular frame, I'm holding shift and I'm clicking on my second frame, and
then I'm hitting the tilde key, that's right underneath escape. The top left.
That's the shortcut to uncheck those photos that you have selected. So let's
go through here and uncheck these. Now this one right here, this photo here
just from glancing at it, it looks pretty overexposed, but I think it's going to be
fine so we are just going to remove these two lower exposed ones and just continue
our trend with what we are doing by removing the bottom two. Now this one,
this one actually looks way, over exposed to me. So I'm going to go ahead and leave
that one out of the selection, and then so I'll be actually removing one that's
under exposed and one that's over exposed. Again this is to end up with a five
bracketed shot. A five exposure bracketed shot. Same with this one, I'm going to
remove the lowest and the highest one. Or the darkest and the brightest I guess
you would say. Continuing on... Just going down the list here of all of the photos
that I have. Again just if it's.. I'm basically my, what my eye is doing is I'm
looking at this exposure, the brightest exposure and I'm asking myself, is it too
bright? If it is, then I'll remove it plus I'll remove the least exposed shot. If
it's not too bright, if I think a lot of detail is still there then I'll just go
ahead and keep it and I'll remove the two under exposed shots in the set. So we are
almost through here getting through.. getting toward the master bath here and
some of the guest rooms. Now we are to our exteriors. Now, what I normally do
with these, is I normally edit usually a single frame, sometimes I will blend
them together. It normally depends on the wind. If it's really windy outside
I try to use a single frame for editing because when you blend them together
if you have trees, the branches and leaves are going to be blowing in the
wind so when you blend them together they get blurry. So I'm going to go
ahead and keep just a single frame for these. That was the back yard, these
two photos here. This last group of three, this is the front shot that I
have and I'm actually going to blend these together, so I'm not going to
use this one right here because it is so bright and over exposed, but I am
going to use this one, and I'm going to use this one and I'm going to
blend them together. And that's just a personal preference. You could
probably get away with just taking this darker exposure and you would
be able to modify and edit this to get to a nice image. But I'm going
to go ahead and blend them together. So, after we have all of our photos
selected that we want to import into our catalog - let me bump
this down a little bit - we are going to go over here to the setting where
it says apply during import. And I'm going to click on develop settings
and I'm going to go to user presets and click on Auto Lens Profile. Now
this is actually a profile that I made during the previous post on
setting up the software for post- processing so go check that out
to see what it is doing. And for meta data I'm going to select
UEP which is my business name which is Unique Exposure Photography
that has my copyright information, my name in there and that type of
thing. These two pieces of information are going to be applied to all of the
photos that we import. So let's go ahead and click import, and it's
going to pull them all into our catalog. And we are going to scroll
all the way to the bottom. And we are going to start at the end. And I'll
show you why here in a second. What I'm going to do is I'm going to actually
pull all of our frames and put them into stacks. Because when we have them
in stacks, that how the enfuse plugin is going to know which photos to blend
together. So, the reason that I go backwards is because A, it's easier
the way that the user interface works when I stack these together, when I
stack these together it's easier and quicker for me to go backwards. But
also, whatever image you have selected first in the stack, so you can see that
this one down here number thirty-four, that one is a little bit brighter than
this one, one-thirty-three. That, this first image that I selected is actually
going to become the top of the stack. So I want the brightest image to be on
the top of the stack because that's going to be most visible to me once
all of my photos are stacked. Now in order to stack them together, I'm going
to go up to, Photo stacking and group into stack. Now I normally just use the
shortcut code so that's why it took me a little bit to find this but, if you
just want to figure out how to apply that particular shortcut code it will go
a lot quicker rather than using the menu. So when I stack them together you'll see
that it bunches them together. I have two photos in this stack. And I'm just
going to go down the line and for all of my photos I'm just going to stack
them all together. So for each room, we just go from the brightest shot
to the darkest, and we use our shortcut code, or our shortcut key to group them
together. And you'll see that my first image of the stack that I select which
is the brightest one, that ends up being the top photo of the stack. And that's
what we want because it looks the best, it's easier to see what shot it is.
So after we have all of these stacked together, now what we are actually
going to do is we are going to go through and adjust the color
temperature. So, I'm going to start and I'm going to right click and I'm
going to go to stacking and I am going to expand all stacks. So it's
going to open them all back up again. I scroll down to the bottom,
and I click on my first photo in the stack and I hold shift and I click
on the second one, so I'm selecting both stacks. I'm going to go ahead
and click on this photo right here so I have that one selected, and I'm
going to go to develop, and once this pulls up, I'm going to make sure that
at the bottom here, that it says Auto Sync. If I click this little toggle
switch and it says Sync here, that means that it is not going to Auto
Sync the photos that I have selected. So I want to toggle it to make sure
it says Auto Sync. And all I'm going to do here is I'm going to adjust
the color temperature. Now it actually looks fine, so I don't really need
to do anything. OK so when we move over to our first set, again I'm going
to click on the first exposure here in this stack, I'm going to hold shift
and click on the beginning exposure over here. So I have all of the photos
in the stack selected. I'm going to adjust the white balance by clicking
on the eye dropper tool and clicking on something that I know is white
from the photo. And then I'm just going to make some personal adjustments
based off of how it turns out. You might prefer something warmer, you
might prefer something cooler. Clicking on the eye dropper is just a way to, as
a starting point, and you as the photographer can make the further or
more detailed white balance adjustments as you see fit. Again, make sure that
you have Auto Sync showing here or else it will not sync across all your
photos. So I'm just going to go through and click on to adjust the temperature
for some of these. Now, sometimes what happens is, since we aren't using
any additional lighting here, and we're just using the light that is available
to us, we will have a lot of cold light or blue light that comes in from outside.
And it can put a lot of blue into our particular photo. Now this one is not
too bad, but you can see some of these areas up here get a little blue. The
way to fix that, is you can go down to saturation, and you can hit and take
down the saturation of the blue channel. Now obviously if there are a lot, if there
is a lot of blue in that particular room, if the walls are blue, or if the
furniture is blue, you want to be really be careful on how much you actually make
that adjustment because you are going to be making that adjustment to the entire
blue channel. So I'm just looking to try to find where to put the eye dropper
tool and that looks OK but it just looks a little purple to me, so I'm going to
drop, drop it down, add a little green into it. And again this one, just based
off of looking at these thumbnails, I can see quite a bit of blue in there.
It's not too bad, but it's enough to make me want to come down and go to
saturation and knock it down a little bit. And again all of those settings
are going to be synced across all of the photos.
You'll notice in this one here I actually have my camera showing. One of the tips
that I can give you is if you doing a bathroom where you have no choice
but to be in a mirror, try to be in the mirror where the background is a
solid color. You can see here that the background wall here is solid, so
that's going to be really easy for me to take this piece of equipment out
in Photoshop. I'm not going to do it in Lightroom and I'm not going to do
it right now. After we blend this photo together and we have it looking
the way we want it, then we'll make that final step to remove that tripod
out of there. This is a good example of a lot of blue
showing, we can see it on the floor here and coming in through the windows.
And you can really see it down in these thumbnails. So again just go down to
saturation and knock down the blue channel by quite a bit.
Now I'm actually going to make a minor adjustment here to this photo. My
temperature photo that I just set was for this interior space right here,
this living room. However off into the distance we see a kitchen. I'm
going to want to adjust that kitchen to change the temperature just a little
bit, just so it looks a little bit more natural.
So we come into our adjustment brush, and we select temperature for the effect,
and we are going to knock it down by quite a bit. And then we go ahead and
just paint in here, like so. This doesn't have to be perfect, we are going to adjust
it here in a second. You can hold ALT to get to the minus brush so you can
remove some of the stuff that you painted if you over painted a little
bit. And we don't need to go that blue, but if we add some purple it
will help balance it out a little bit. And you can actually down here, hit
this toggle switch so you can see the before and after. So it's not that
much of a difference, but it makes a difference in the end.
This is another example where we are sharing two spaces that have different
color temperatures, so I'm just going to make a minor adjustment here, just
to try to even it out just a little bit.
OK now that we have adjusted the white balance for everything, I'm going
to go ahead and right click and go to stacking and collapse all stacks. And
I'm going to select all of them, but I'm not going to select the two single
frames that I have. However I could leave them selected and nothing would
happen but I'm going go ahead and deselect them so the only things that
I have selected are the photos that I'm about to process, with
enfuse. So what I'm going to do is go to file, plugin extras, blend
exposures, and if I had taken the front shot with a pole, and I knew
that it wasn't steady, and I knew that I had to align it, I would not
have it selected in this batch. I would do it separately. But because
I know that everything was shot on a tripod and frame to frame my tripod
did not move at all, then I know I can go to auto align, I can leave
this off, because it will go quicker without having to align everything,
and then I go ahead and click Enfuse. Now while it's going, you can see it
up here in the top left, going through the enfuse process, I actually go through
and modify or start to edit the exterior photos. So let's go ahead and
go into develop, and let's click on the first one here. And I'm going to modify
the temperature a little bit, just based off of what I'm seeing with my eyes. Just
get it to how I want it. And then for an exterior, what I normally do is I go
through and I pump in a lot of contrast, go up to maybe thirty, I'll pull the
highlights way down, because we have a lot of the sky that's blown out.
I'll boost the shadows way up to about eighty, to add, or to lighten
up where it was dark. I'll take the blacks down to about a negative five,
the clarity up to maybe twenty or so, and for an exterior photo I may bump
up the saturation up to five or so, not too much. Again this is all going
to be based off your personal preference. You are going to build what people
recognize as your photos, and you are going to learn that as you go. So use
my example as a starting point but definitely make sure that you come up
with your own way of processing the photos and putting them into the look
that you want. You might not look how mine turn out and that's perfectly
fine, but come up with what works for you and stick with it.
Now I'm going to boost the exposure just a little bit here to make this a little
bit brighter. I usually pay attention to the histogram a little bit, I want
stuff to come over toward the right side because I want it to be bright.
I'm going to go down to my luminance and I'm going to lower my blue channel
a little bit, just to pull in all of the blue in the sky. Because if
I can save the sky, that saves me a step of having to put a new one in.
So I'm going to lower it down a little bit. If you want you can adjust the
saturation of it to make it a little bit stronger of a blue color, and
that looks pretty good. If I wanted I could go to the adjustment brush,
I could click on effect and go to shadows, and I could adjust my
shadows to around twenty to thirty, just depending on what works, and
the good thing with Lightroom is you can just paint over stuff and
adjust the value here after you are done painting over everything.
But if I wanted to lighten up these pieces that were in the shadow I
could do that now, it looks to bright to me so I'm just going to
lower it down. And we can see the difference by
hitting the toggle switch. Again it's not much. And if we need to
add a little bit of more contrast just to make things stick out
better then that's fine too. And that looks fine, that's how I would
deliver it to the client. So now let's go to the second one. And
I can just tell by looking at the brick, that this is too green. So
I'm going to adjust the tint, to add a little bit more purple in
to help even it out. And again we are just going to come back,
pump in a lot of contrast, take down the highlights, probably not as
much this time. But shadows, almost always go up quite a bit on shadows.
Especially when I'm doing just a single frame like this. Now if I
blended some together, I probably wouldn't have had to use so much
shadow, but we'll see when we do the front shot.
Now I'm going to come in and grab my shadow brush again, and just
brush some of this in just so it's a little bit brighter.
And if I want, while I have that brushed in, I could bump up my
exposure, just a little bit. You don't want to go too high, because
the higher you go, the easier you'll see where your brush marks are.
So you don't want to use it too heavily. And then if you want you can always
go into your highlight adjustment brush and I could paint over this because
that's my brightest spot, and then just drop the highlights down a little
bit, to like thirty or so. Let's see the before, and the after. You can see
how that darkened it up by doing it that way. Brought a little bit more
of a sky in. And that looks good to me. So what I'm going to do is I'm
going to click back over to the library and we are still going here, we are
still enfusing all of our brackets together. So when it's all done, I'll
come back and show you the next step. Alright, after Lightroom is done
enfusing our brackets together, it's going to expand all of our stacks
and we are actually going to notice that, we see this is between two
stacks here, and we actually don't see the blended image in this particular
stack. We see photo two, three, four, five, six.. but we don't see that
blended image. The reason being is because we have over here selected
previous import, and we need to actually select the folder or directory where
we saved everything. So I'm going to go ahead and click on originals over
here and that will populate all of our blended images into our library.
Or at least populate it into our library view. So I'm going to collapse
all of my stacks, because what it did was it blended all of the images, and
then it put the blended image, on top of the stack. So everything that we
are now looking at, is the blended image from Lightroom enfuse. From
the plug in. Now what I'm going to do is I'm going to bulk edit these and
process them. And so I'm going to do the interior first. So I'm going to
click on the first one, and have the remaining interiors selected, and I'm
going to click on develop. And what I'm going to do is I'm going to start
by adjusting my exposure up to about point eight, and that might need to
be adjusted here because that looks really bright, but I'm going to continue
on because you never know what's going to happen after my other edits.
My contrast I'm going to go to twenty. My highlights I'm going to drop them
down to anywhere between negative forty and fifty, you can even go a little
bit more if you want to sixty. Shadows I'm going to pump them up but not
too much, we'll just put them at fifteen. And then negative five again for blacks,
and for clarity I'm going to put it at twelve.
Now this actually looks pretty good to me, it might be just a tad on
the bright side, so I might drop my exposure down to point seven. So now
what I'm going to do is because we have auto sync selected, these settings
all got adjusted to all of the photos that I had currently selected. So now
I'm actually going to select only the first one, and there's a shortcut for
that, for command d, or alt d or option d depending on how you have everything
set up on your computer, and if you are using a mac or a pc. But I'm going
to go to the first image and I'm going make any minor edits that I think need
to be made. And usually the only thing I do is I fill in some shadows.
I'll either adjust the exposure for this particular image, or, and/or I'll
adjust the shadows in particular spots. So I'm going to go ahead and put about
twenty on my shadows on my adjustment brush and I'm just going to brush in
this area just a little bit. And that's about it. And, I'm going to call that
one done. So now I'm going to go to the second
one. And again I'm going to brush just these dark corners in a little
bit, just so they are a little bit brighter. And I'm about done here.
I'm going to adjust the temperature just a little bit on this one. It looks
a little bit too purple and I want to warm it up a little bit.
Alright, so now let's move on. Again this one looks good, but I'm
just going to adjust some of the shadows. Nothing major. I have a, these, I think
it's probably picture frames or something sticking in over here, so
I'm just going to crop those out. And I'm actually going to, I'm
going to crop it out over here on the other side, there's a little
shelf over here too. But I did notice when I did that I kind of cut this
arch off so I'm just going to pull my photo down and instead of cropping
from the top, I'm going to crop from the bottom. So we can still see
everything here that we intended to see, we can still see the top of the
arch so that's not cut off any more, but we got rid of these little tiny
distracting pieces. And if you go in and you fill in some
of these shadow areas and it doesn't seem like it filled up too much, you
know feel free to boost it up a little bit. And don't ever be worried about
adding a little more contrast if you need to, because once you add in, or
fill in some of those shadows, you are going to be removing some of that
contrast between bright and dark, so feel free to add some of that back
in if you need to. Now this actually looks, just my first glance on looking
at this, it looked a little bit too purple, so I'm going to bump the
tint down a little bit, and the temperature just a tad. Maybe bump
that back up to negative five. That looks a little bit better. And again
I'm just going to have my shadows brush and I'm going to go through
and hit all of the dark areas. Which sometimes could be most of the image
but you just want a nice result. And I'm actually going to bump the exposure
of this one up to eight. Bump that one up to nine. Do a little bit
of shadow work. Again it doesn't take much, just a quick swipe, with a low
amount, and it'll boost it up. Now this actually looks, the color
balance on this doesn't look very good, so since I'm on my shadow brush I'm
going to go ahead and finish with it before I switch over to something else.
But it's, the temperature just doesn't look right. So I'm going to drop it down
a little bit. And adjust my tint just a tad. And then I'm actually going to
take a brush, because I, I like how the majority of everything looks,
except for right here on this little island. So I'm just going to take a
brush and just adjust the temperature of this piece. And it's not much,
again just the little tiny corrections can make a lot of difference.
Now this one seems really dark. So I'm going to pump this up quite a bit, and
I'm actually, it looks like it gets really dark when we head off to the
right of the image, so I'm actually going to select the gradient adjustment
brush and I'm going to choose exposure, and I'm going to pump it up just a little
bit, and then when you drag it, it will pump up just that side. And again we can
go and add a little bit into the shadows just to brighten some things up
a bit, otherwise it looks good. Moving along.
This one same thing, this looks really dark. I'm going to go ahead and adjust
the shadows here but it's going to need more than that. So I'm going to
click on new, because once I have this particular brush filled in and once
I've made some adjustments, I have to click on new in order to start a new
brush. So I'm going to go to exposure, and I'm going to fill in this whole
area like so. And I'm going to brighten these up here
in a little bit. I don't want to mess it up by using this particular brush,
but.. I'm going to create a new brush, do a
little bit more shadow stuff over here, just to brighten that up just a little
bit, not much. Now this is one of those deals where,
the shadow brush is working but it's just not as much as I want it to. So
I'm going to pump it up, maybe add just a tick or so to the exposure.
Again don't go, you don't want to go too far or else you'll really be able
to see where you make those adjustments. And we don't want that. We want it to
look as natural as possible. This is another one that is going to need a
bigger adjustment than what I'm doing right now. But it's good to always
start small, start with the shadows, bump them up, and then move on to
bigger and better adjustments. I'm just going to put a little bit more
exposure just around the sofas and the coffee table, just to brighten
them up, just a tad. Still haven't done anything different
here, just adjusting the shadows where needed.
Now this bathroom, this room was actually really dark, and this bathroom has a
really bright window shooting into it. So, this obviously, went, or became
over exposed when we blended them together. So what I'm going to do is I'm going
to continue adjusting just this bedroom for now, just to brighten it up just a
little bit more. And them I'm going to tackle that
bathroom on its own. So I'm going to adjust the exposure, I'm going to drop
it down a little bit, take the highlights down. Now one of the things, I did this
previously but I wasn't talking while I did it, but, when you make an
adjustment, the brushes in Lightroom are round, so it's really hard to make an
adjustment for something that's square, like a door frame. What you can do is
go beyond the square with your brush adjustment, and then you can just take
the minus brush, and wipe away the excess.
And that's all I'm going to do for there. It doesn't need to be perfect to see in
there because I will have a shot coming up shortly that we are going to edit
of that bathroom itself. Now if we were using lighting, we would have a much
better result there. But we aren't, we are stuck with doing, just blending
exposures together so that's what we end up getting. And you could if you
wanted, you could pull that, pull a couple of frames in to Photoshop
and mask in that particular area, that's definitely a possibility.
Here is an example of, see where you can see the brush marks that I have,
when I adjusted the exposure on this? We don't want that to show up like that.
Now this looked a little bit, compared to the previous shot, this one looked
a little bit warmer, so I'm going to bring the temperature down just
a bit and bump up the exposure just a little bit. I'm constantly when I'm
going from one shot to the next, I'm keeping in mind, in general what it
looked like and, am I matching exposure across shots. Because at the
end of the day, I want them all to be as even as possible. And we'll be able
to go through and look at them here in a little bit. And back to this,
remember what I said, we are going to leave this in here for now, we'll
adjust it out here in a little bit. For these bedrooms like this where
there, there's not any furniture, we usually don't have to do any
shadow adjustments or anything in here, we can just bump up the base
exposure where needed. I'm going to crop out that door
handle that's over here on the right hand side. It doesn't help the image
at all and it just takes away. Maybe boost up the shadows just a little bit
in there but, it's not going to make that much of a difference.
Alright now let's take a look at taking out the tripod that we have
in this particular bathroom photo. So the easiest way to remove this
tripod out of this shot, is to actually pull it in to Photoshop,
so that's what I'm going to do. So I'm going to right click on
the photo, I'm going to go to Edit In, and Edit In Photoshop. It's
going to ask me if I want to edit a copy with the adjustments, or
edit a copy, or edit the original... I'm going to stick on the first
option which is edit a copy with Lightroom adjustments. I click
edit and it's going to export the photo, it's going to pull it in
as a new photo on top of the stack, so it's going to save the original
there, and it's going to open it up in Photoshop. And what I'm going to do
is I'm going to click on the clone stamp tool and I'm going to zoom in. And
I'm going to select, I'm going to hold ALT, or option, and I'm going to select
a part of the image that I want to clone. And I'm going to click down, and then I
let go of ALT, and now we can see this piece here that I'm going to use
to clone, and I simply just paint over my tripod.
And now when I zoom out, we can see it did a pretty good job at taking that
out. And if I want I can go into the healing brush tool, and select some
of that area, and it will help even it out just a little bit. Now you can
still see here that we are missing a little bit of the edge of the bed
that is in the background. So what I'm actually going to do, normally
I probably wouldn't do this, but I'm going to go ahead and just remove,
grab the clone stamp tool again, and I'm going to actually remove the
whole bed, because that will look better than not having an edge to it.
There, and so now nobody will be able to tell that there was a mistake there,
or that the tripod was there. Alright after I'm done editing, I'm
going to go ahead and close this image and click save, and it's going
to save in Photoshop now. So now we can see that it added this new image
on to the stack, where we do not have the tripod, and that's the image that
we edited. So you can see the before and the after there.
Now let's jump over to our front exterior photo. Because remember we
had utilized two frames to go ahead and blend two of them together instead
of trying to fight just a single exposure. So again, same here, same
thing here as usually. We adjust the color temperature if we need to. It
looks fine to me here. But with my exteriors, I'm going to start with
the contrast, I'm going to drop the highlights, I'm going to boost up
the shadows, take down the blacks a little bit, and pull up clarity.
And then I'll add a little bit more contrast if I need to. I'm going to
go ahead and, I'm going to try and darken the sky a little bit. So I'm
going to grab just the highlights, and I'm going to go through and brush
over that, just a little bit. And this is a little bit bright over here, so
I'm just going to sweep over while I have my highlights selected, I'm
just going to sweep over those hot spots. And I'm going to make the
house itself a little bit brighter. So I'm just going to add, just a
shadow brush here and go over just the front face of the house, just
to boost it up. Alright everything looks good,
maybe add a little boost of saturation. Other than that, it
looks good. Now sometimes depending on how you used your tripod, if you
pointed up at the house or up at the property, you may have some
vertical lines that are not lined up correctly, which is the case
here. We can see on the left-hand side this vertical line doesn't go
straight up and down, and on the right-hand side we can see it just
a little bit, this one doesn't go straight up and down either. So we
need to adjust that. So what I do is I click on the crop tool, up in the
top left, and we are going to scroll down. And we are going to go under
lens corrections, we are going to go to manual, and we are going to adjust
our vertical number. We are going to pull it down, until we see based
on our eye, that it looks good. And what I'm looking at here, is I'm
looking at the property itself, to make sure that all of the lines are
as close to vertical as possible. Now we may have to do a little bit
of rotating to the right, to get them all to line up. You may have
to rotate to the right or left, in conjunction with adjusting the
verticals. Now one of the things that we want to make we do is
when we do adjust those verticals, we are pulling these corners of
the photos in, and so we want to make sure we crop all of that out.
So we don't want to show any of that in the actual photo itself. So we
make our crop selection on what we are going to end up delivering to
the client, we hit enter, and that's our photo. Now, now that we are
zoomed in a little bit, I want to brighten this up just a tad. So
I'm going to brighten it up a little bit, add a little bit more
contrast, and I'm actually going to go in to here, and drag the blues down
just a little bit to give it a little bit more punch. Other than that, it
looks good. So I'm going to go ahead and click on
Library, and now we are back to our thumbnail view. Now what I'm going to
do is I'm actually going to put these all in order. There were a couple of
photos that I took out of order. I took the front shot last, so that's all the
way in the back, so what I'm going to do is I'm going to click and drag it up,
until I'm, until I see the single black line, and that will allow me to place it
in the front in the library. If you don't get that single line, make sure you are
actually on, or in one of your folders. Also another step that could probably
solve that, is make sure your sort order is on User Order. That will allow you to
rearrange them. Now I'm just going to go through by eye, and see where else I have
photos that are out of place. Because I know I had a couple of them where
I ended up taking like a kitchen shot some time later. So here is the family
room. Here is one right here. I wanted to take one of the staircase, so I'm
actually going to put this one, next to this shot. And these two are actually
going to move over past this one. Again this is just my preference on
ordering the photos before I deliver them to the client. And what I usually
do is I usually put the master bedroom shots along with the master bath, I'll
put those first, before I put the other bedrooms and any other guest, or any of
the guest bathrooms. And I like to divide them up a little bit too, so I'm going
to start with two bedrooms and show a bathroom, followed by another bedroom
and a bathroom. And this is actually a game room, it was a big game room
upstairs, so I'm actually going to show this one first, because I think people
may want to see that before they see these other smaller guest rooms.
So we are almost complete, now what I'm going to do is I'm actually with my
eye I'm just going to look at all of these thumbnails. And just a quick
scan to see if anything needs to either be brightened, color adjusted or darkened.
Because again, we are going after a consistent look for the whole set. And
one thing that pops out is this photo right here just seems a little bit
dark to me. So I'm going to go into develop and I'm going to bump it up
just a little bit, just one tick. You can't always rely on just the thumbnail
itself. However I did find that if I looked at the thumbnails and made some
minor adjustments, it ended up having a more consistent look amongst all of
the photos. Once I'm all done, now I need to export these to deliver them
to the client. So what I'm actually going to do, is I'm going to click
on the first photo, I'm going to select them all, make sure I'm under
the library module, and I'm going to scroll down to meta data, and I'm
going to find the title field. And I'm actually going to name this after
the property address. So you can see here when I created the catalog, I
created it in twenty fourteen of January third, the property address
is one two three main stree in McKinney, Texas seven five zero
seven zero. So I went ahead and just put the address, city state and zip
for the title. And what this is going to do is if you go back to the setup
post that I shared earlier, it's actually going to utilize this title
when I export these photos. So now what I can do is I can go, I can right
click, I can go to export, I can click on Full, and then I can also right click,
go to export, and click on Small. We made these export presets in the previous
post during setup. And so what it's doing now, is it's going to export according
to those settings. And it's going to place our photos in the spot that we selected.
We had chosen the original source folder. So let's go take a look and see where
that is. Now this is where I have my catalog inside this main directory, so let's
go ahead and open it up. Originals is where I placed all of the source files, all of the
source folders. Or the source, source photos. So that's where this export is going to take
place. So if we go inside we can see we have a full folder, and we can also see if we
scroll down to the bottom we have a small folder. So we are just about done here, I
can see with my Lightroom icon, our little progress
bar is just about done. And there it goes it's done. So now if we click on our small
folder and I put these in list view, we can see what it did. It labels them
according to number, and it puts the property address in the filename, and it adds small
to the end. Now if we were to open these up, we can see that it shrunk them accordingly.
And we can scroll through all of the photos to see in there. And the same thing holds
true with the full size. Except now they are the full size instead of being shrunk
down. So now we can go ahead and package those up and deliver them to our clients.
If you have any questions please feel free to reach out to me at
TipsForRealEstatePhotography.com. I hope you enjoyed this tutorial on using
Lightroom Enfuse to properly process real estate photos.