Real Estate Photography Tips Lightroom Post Processing With Enfuse HDR Blending
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Real Estate Photography Tips Lightroom Post Processing With Enfuse HDR Blending

Hi this is Lance, with 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 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
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
I hope you enjoyed this tutorial on using Lightroom Enfuse to properly process
real estate photos.


  • Made invideo

    What a great video! We have been using your technique with great results! And I have to say that we much prefer the look we are getting from enfuse than from hdr software like photomatix or hdr efex. Lovely interior photos, by the way. Keep up with the good work!

  • John Graham

    I really enjoyed the video – learned a lot. You set the white balance on each stack before blending.  Is this better than doing the WB adjustment after the blending?  Doing after seems easier to me.

  • Timothy Avidphoto Jones

    Love the video. I'm considering adding just a little fill light. Do you think that'll work with your technique.

  • PetePhotographer

    Hi Mate I am over in Australia and shoot 4-6 houses a day and this seems like a very very labour intensive method of post production. I totally agree with the use of the promote control but do not agree with your technique of shooting and use of light room. In university I was taught to get the shot as perfect as you can when shooting so post is only for enhancing.  In your brackets you are going way too low to be useful and the overs are nearly a base exposure.  You are missing a significant  single simple photographic tool. The resultant shots in our VERY DIFFERENT  AUSTRALIAN market over here would be rejected by most clients as they potentially look a bit unbalanced and muddy ( NO OFFENCE) I KNOW AMERICA  IS A DIFFERENT MAKET  here are some examples Firstly this is a really ordinary property  I shot and a nice night shoot  These properties and bright and happy.  The day jobs are shot on jpeg and I batch on the run on my laptop and the night jobs are CR2 and done in the office.   Please note there is no muddiness or greying out in the ceiling corners and the Skies are all dropped in for consistent output. I very rarely have to adjust for blue areas and The post on these jobs are minimal there is no Lightroom just a different shooting technique photomatix and photoshop with a couple of macro's.  The post ( other than batching) for a 12 shot house takes 20 mins and a night shoot about 30 mins.  The look may not agree with the US market but the shooting takes the same time and the post time is definitely shorter.  
    Pete Photographer

  • Stephanie Bartik

    It's like having a professional teacher standing there with you.
    I like the format.  Yes, it is lengthy, but very informative.  And the beauty of ONLINE instruction, is the 'teacher' doesn't know if you paused the video, to grab a cup of coffee, or go out for a walk.   Psst, I am still here!  🙂  Good Job, thank you for your time and experience

  • Shawn Ferrell

    Great video It was very helpful. As others mentioned I would have cut out some of the edit proces but I did learn some from that as well. Question what is your computer setup I like the speed that it is running at. Ram, processor and are you running a flash hard drive? Thanks.

  • Kerry Carloy

    The comments regarding "boring" probably come from the generation noted for its entitlements, one of which is to be entertained. I don't use Enfuse myself, but rather Photomatix Pro just because that's what I had already installed. Two ideas I have learned about Lightroom are, for one, a refresher on using auto-sync. I had forgotten that toggle exists. Secondly, the technique for dealing with different temperatures in two different rooms using the brush to adjust locally. While I don't mind incandescent  lights looking warm, sometimes it gets to be extreme, so it's good to know how to cool that other room down some. Well done!

  • Mike Long - SLO, CA

    Excellent tutorial.  Came to learn some HDR tricks and ended with a bunch new knowledge on using Lightroom's other features.  Thanks!

  • Eduardo Aguirre

    @UEPVideos , You nailed it!! Thank you very much for your time and dedication. This tutorial is really, really good.

  • 7SERIESfilm

    Great tutorial, I was looking for tutorial on lighting a property for video and I came upon your video which I learn a lot, and the pace is not too fast or too slow just perfect.

  • Pepo Herrera

    I think your tutorial is really long!! You could make one just with one room and one exterior. I understand when people think that your tutorial is boring but i think that is as boring as useful. Thank for your time and thanks for show us your technic. Sorry about my english!

  • Jack Gibson

    I have to say, I learned a lot watching this video. I'm using a combination of flash and Enfuse for my interiors photography and this was, by far, the most helpful tutorial I've seen. Very, very well done. Thank you.

    I did have one question though. Why do you bracket for 7 shots and then take away 2? Wouldn't it be easier to just bracket for 5?

  • Bill Morgan Media

    Thank you Lance, this was very helpful. I appreciate you sharing your tips and workflow for real estate work. I just downloaded LREnfuse and made a donation thanks to your demonstration.

  • Suburban Lens

    Wondering if its necessary to white balance all the photos before enfacing as apposed to waiting until after.  Is there a benefit?

  • David Rodríguez Palomar

    Excellent post-processing video! I have a question, do you use the flash when taking bracketed exposures? Is it preferable to use just one way or another,or maybe combine them?

  • Terry Iverson

    I'm very glad I found your video, which was very helpful in achieving the correct WB.  Typically shooting nearly 1000 homes a year, that is one area that always has taken quite a bit of time to get right.  I had not tried correcting WB prior to running through Enfuse and was amazed at the much better results doing it that way.  The extra step adds to my processing time, but well worth it.  It was great watching another professional use the tools and yes, even though a long video, there were other tips I picked up along the way. 

    Too many people want a short cut to success without taking the time to really understand what they are doing.  Perhaps that led to some of the less than positive comments about the length.  Good job and thank you again.

  • Paul Murray

    You have filled me with the confidence to go out there and win over clients, very generous of you to share your skills. Thanks from the UK

  • Vu Trong

    Open letter!
    My name Vu. I'm in Vietnam
    I'm a photoshop expert. I've been working with photoshop 8 years and I've done a lot of work in photoshop as:
    – HDR Blending and HDR Correction adjust image color interior.
    – Clipping Path
    -Editing the face and body parts
    -Retouching the profile pictures
    -Correcting  business pictures
    -Fixing vehicles and real estate images
    -Editing photos of children and babies
    -Correcting animal and nature pictures
    -Changing or modifying the background
    -Correcting the light and colors
    -Adjusting the shape of the face
    -Hair retouching
    -Blemishes removing
    Thank you for reading my email, i'm looking forward to seeing your reply.
    I am looking for more work to establish my team, the labor cost in Vietnam is lower than you. If you have an idea to open a branch to work for you. Please contact me. my skype (vu.trong85)

  • atronx

    Just getting into this but couldnt many of the temp and color issues be solved in camera at the time of the shoot instead of post or is this an artifact of using enfuse and HDR? 

  • L Stefani

    UEPVideos, Thank you for taking the time to do this video.  I am a realtor, but do my own photography.  I learned several efficiency tips – stacking, auto sync, and Enfuse.  Also, have used some of your ideas to add equipment.  I am using the Canon 70D and have wondered whether it's worth upgrading to a full frame camera (preferably the 5Diii), but for now I'll stick with the 70D.  

  • Sarah Maree Heironymus

    Thank you so much Lance, you have a simple and thorough workflow. Your tutorial is so helpful and timely for me. I am looking forward to establishing my personal style in my real estate photography now that I am becoming more comfortable that I can produce the necessary shots. You're work is wonderful 🙂

  • Arthur Speyer

    Thanks for taking the time to make the video. I picked up many useful tips. You are really dedicated to getting the white balance correct. Your effort will make me work harder at it. 🙂

  • Aus Digital Media

    Hi. Thanks for this video. I have been studying property photography for a long time now and this is the best tutorial I have found. 
    But when I use Infuse I cannot get the properly exposed view through the window to show. Ensue always seems to take an average exposure across all the frames thus blowing out the window view slightly. I notice none of the shots in this gallery have views. Can you tell me how you would deal with a window with a view whilst using Infuse?

  • Alex Hart

    I think going threw fewer examples in the color balancing is sufficient.. or maybe throwing in a few chapter markers.. e.g. Color Balance (then only show 3 examples). Shorten the tutorial based on redundancies. But still very helpful.

  • Alex Hart

    Also have you compared LR Enfuse with the latest version of Photomatix Pro.. is there one you like better for Real Estate? I will download the trial and compare blends.. I'll post back when I see the final results.  

  • Chez Watts


    Just thought I'd throw his out there for you. When stacking, if you make sure that you time all of your frames between 7-10 seconds apart, you can automatically stack your files using the "Stack by Capture Time" feature. saves a lot of time.

  • jjaylad

    LR Enfuse is no longer working. Something is incompatible with latest release of LR (LRCC) Just gives hundreds of error messages.

  • DennisCarlson

    Turns out, Lightroom just released a in-program HDR merging capability that I just tried today and it actually works pretty good. So everything can be done entirely in Lightroom!

  • SqFtPhotography

    If you're creating a new catalog for each individual property that is photographed, are you having to re-create the metadata info and export presets for every single photoshoot?

    Also, how would you be able to search for a specific photo out of thousands of images based on keywords if they are all in separate catalogs? Is there a way for lightroom to have access to all keywords in all catalogs?

  • Scott Hooper

    This tutorial helped me no end! I was pretty much in the dark using Lightroom when I got started a few months ago. Since starting with the general settings discussed here I have developed my own style somewhat. I've come back today to revisit what I now consider The Oracle, to see if there's anything I've been missing and I have picked up a few housekeeping tips that I'd overlooked. Great video, I really appreciate you taking the time to share with those not so familiar with the tools and techniques.

  • Garland Gay

    When changing the color space of one of the back rooms, why don't you just make a mask with a brush and use the white balance sampling tool thing???

  • Richard Mauro Ricchiuti

    I'm curious why you didn't leave window shades up/open. Some of the best real estate photography includes beautiful exposure with what's seen through the windows as this certainly lends depth/dimension to the property.

  • AerialLensVideo

    THANK YOU! What an amazing time saver! I only wish I had seen your video about a year and a half (and thousands of wasted hours) ago . Better late than never. Much much much appreciated.

  • Damian Vines

    I noticed in almost every shot that included nice large windows that the shades were drawn. Is this because there was nothing worthy or interesting to see outside? Or simply your "style"? So many agents want to "see" outside, in particular when there is a view. I'm not saying that your process would be different, but I can assure you the outcome of the photo blending would be quite different. Edges could start becoming ghosty and hallo'ed. Is this why you intentionally left the blinds down in most shots, to limit the dynamic range? Do you ever incorporate flash(es) to compensate for huge dynamic range issues? Great tutorial, love the work!

  • Cheryl DeCristofaro, Housescape Photography

    Fantastic video! Invaluable! I have taken copious notes. I noticed that a number of people have asked why you shot all your photos with the blinds closed. I was wondering this as well. I live in Asheville, NC, where most of my photo shoots are of houses with mountain views. Agents expect the photos to show the views through the windows. My only wish is that you had addressed this in your replies.

  • Daniel Spellman

    Is there a reason you do colour temp adjustments before the LR Enfuse and not after? Wouldn't doing it after save you from having to select the stack and sync it?
    Great tutorial btw. 🙂

  • Ed Waggoner Sr.

    The measure of a good video presenter is how attentive he is to the questions his viewers ask.  You don't seem to interested in answering questions.  Too bad.

  • Ira Bruce Levine

    I very much enjoyed this video. It was good to learn how to place photos in stacks in order to easily make changes to all of them through syncing. I never thought of doing that. I am also a new subscriber to your channel.

    I have taken a few interior photo shoots for friends and organizations (nothing for money), and have always used LIghtroom to combine sets of three or five photos into an HDR image. I was wondering why you consider LR/Enfuse to be superior to Lightroom HDR? I think you made some comments about that in the video, but I wasn't too clear about your thinking. If you have the time to respond, I'd love to know your thinking as to the difference between the two programs, and why you use LR/Enfuse over Lightroom HDR. Thanks.

  • Andrew Leman

    Thanks for such a great video! Heading to my first shoot this morning and will be watching again when i sit down to edit 🙂

  • Logan Cressler

    Instead of dropping the blues in SAT to correct for color cast from natural light outside, apply a split tone and add some yellow to your highlights.

  • san s

    If you are looking for best real estate HDR blending services at low cost please contact us

  • infringinator

    you know he's an amateur when he takes 5 pics to get 1 right, and puts images into photoshop to do simple spot removal. I'd rather take 5-10 pics adjusting for my environment than take 50 extras I dont even need.

  • Steve Maloney

    Ok, moving here. Dude, if you're going to throw out three or four of your bracketed shots, just shoot three bracketed with a 2 stop separation and be done with.

  • Sevak Hakoyan

    I didnt get a chance to thank you yet but i always remember. 4 years ago i watched this video when i randomly agreed on doing a real estate photography gig for a friend. It was a start and it helped me know what to do. I then went on your blog site for the tips for real estate photographers and read every post and bought a lens you recommended and got into the business. I just calculated my revenue and thought to leave this review. This video and your page made me over 100k already. So thank you 🙏🏻

  • Clyde Digital

    Thanks for taking the time to explain the purpose of shortcuts… I don't know where I'd be if it wasn't for the generosity of Americans.

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