Post-production

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!

One of the biggest steps I made in speeding up my editing workflow was learning Photoshop’s shortcuts and keyboard commands inside and out. It took me a while to get to the level of muscle memory I’m at today, but once I did, the time savings were quite significant (which means less time in front of your computer and potentially more time relaxing by a pool somewhere.)

It’s no news that we’ve all been subjected to various levels of lockdown thanks to COVID-19. Restrictions on routine activities have given many of us plenty of time to learn new skills and techniques.

APA reader Roy Engelbrecht used his spare time in the pandemic to try out exposure stacking to satisfy a particular client request.

How do I start this? The question has been haunting me for weeks now. First, I want to thank you for the many great responses to the previous chapter of this series. In my last article, you saw my process for achieving a large number of images for at least four different clients — taken care of all in the same shoot.

Are you having trouble finding consistency in color in a photo series? You are not alone! With the method explained in this blog post, you can overcome many difficulties that come when matching colors.

I love watching good Photoshop tutorials. It’s a bonus if it is targeted at us, architectural photographers, but often that is not the case.

Lately, I have been shooting corporate interiors. The projects are usually well lit common spaces or executive offices next to a window. The rest of the spaces are mostly lit with artificial light. Although I typically like shooting with natural light only, on these projects, I must turn on and feature the practical lighting as a design element.

Adobe has just announced a new feature called “Super Resolution” which is now available in Camera Raw 13.2 (that includes the Camera Raw filter in Photoshop) and will be coming soon to Lightroom and Lightroom Classic.

According to this blog post by Adobe, “The term ‘Super Resolution’ refers to the process of improving the quality of a photo by boosting its apparent resolution.

Ever since interviewing Peter Molick on APA, I have become very enamored with his work — specifically his workplace interiors projects and the post-production steps he takes to create very visually striking images. Even in Australia, I don’t think I have come across photographers photographing workplace interiors projects as Peter does.

Architectural photographers routinely work in environments with multiple competing (and sometimes unusual) light sources. We are then expected to produce final images that accurately and artistically depict the captured spaces. From there, we carefully export files that need to show well on a variety of electronic devices, as well as print destinations ranging from wide-gamut gicleé prints to magazines printed with an offset press. Our clients generally don’t understand much about what goes on behind the scenes during this complicated process—they just want everything to work.