Post-production

I have recently discovered the power of Lightroom export presets, and wanted to be sure to share them with you! It is an easy way to export images for various usages, and sizes in almost one click. I personally have made three presets that I use all the time: Web, Instagram, and Print.

It’s easy to set up your own presets (you can see my settings below).

I don’t know how you balance the colors in your images, but here is one thing that I can guess – You are correcting colors differently than I am, and you are doing it differently than you were five years ago in your own workflow.

There are so many tools in Photoshop that keep changing and evolving to help you achieve the right color balance in your images.

Capture One has just released the latest iteration of its popular tethering and editing software, Capture One 22. The new release sports some long-awaited new features including:

Panorama stitchingHDR mergeImproved performance, especially on Windows PCsAI-driven auto rotateWireless tethering for Canon cameras

This latter feature is sure to interest anyone using Capture One as their tethering app of choice.

As architectural photographers, we regularly have to deal with removing unwanted objects from an image. Over the course of time, and after building your own experience, you probably have found a few favorite ways to do so. I personally am endlessly searching for ways to improve my post-production workflow, especially because Photoshop’s instruments are always improving.

Adobe has updated Lightroom, Lightroom Classic, and ACR to be able to work with masks! Maybe this will reduce the number of times you have to switch over to Photoshop?

The Masking panel is all new and introduces the ability to auto-select subjects and sky. It’s driven by Adobe’s AI named Adobe Sensei.

Every now and then I receive a DM or YouTube comment asking about aspects of my personal editing process. The questions tend to be all over the place, but a common one I’ve received multiple times is “how do you get your white walls to look clean and bright?”.

There are multiple ways in Lightroom and Photoshop to achieve the same goal, but in this video, I give you my personal editing process to achieve that clean white wall look.

Just after my last post about painting with contrast with the TK7 panel was published, the panel was updated and changed to the new TK8 luminosity masking plugin. There are many new features such as edge masks, color-grading, watermarking, expanded web-sharpening, selection editing, gradient effects, sketching actions, a smart object indicator, and much more. 

Like I’m sure most of us do, I use luminosity masks constantly in my retouching process – both through manual selections and plugins like Raya Pro, Lumezia, and so on. However, another way of selectively blending layers based on luminosity which I’ve been using more often is by using blend-if sliders.

As mentioned earlier on this site, I am a huge fan of the TK7 panel for luminosity masking, developed by Tony Kuyper. I owe my high-speed workflow to this panel in Photoshop. I really wouldn’t know what to do without it (by the way: there are also other panels that can be used properly, but TK7 is my personal favorite).

You might remember Alex Nye from his stellar commended entry in Architizer’s photo challenge, or the videos on Instagram of him climbing precarious objects to get incredible perspectives of what he is shooting.

Today Alex is back with another gem for the architectural photography community.

One of the most overlooked features of RAW processing software is the ability to create masks based on color values. Lightroom has recently introduced Range Masks, a feature that I constantly use on my edits. As a response, Capture One has come up with a new feature in the latest software update: the Magic Brush.

Lurking in the shadows of the photography world, retouchers are the hidden muscle behind so much imagery produced nowadays.

Hiring a retoucher is ultimately a personal choice. It’s an approach that many photographers take, but just like outsourcing any part of your business, there are pros and cons.

I really don’t know how I could do my post-processing job without luminosity masking. When I mentioned this in my article The Architectural Photographer’s Digital Toolbox, many asked me to show my workflow with luminosity masking. While it is impossible to sum up in one single article, because I really use this tool for everything, I can make a start and give you a look into my process!