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Working with Fusion/Real Estate workflow using photos taken inside

From: Up and Running with Photomatix Pro

Video: Working with Fusion/Real Estate workflow using photos taken inside

Okay, we took a look at an exterior, but interiors have their own challenges. I'll grab these six images and hit Load. This was definitely shot from a tripod, and there really is not much noise.

Working with Fusion/Real Estate workflow using photos taken inside

Okay, we took a look at an exterior, but interiors have their own challenges. Particularly in the fact that you typically end up with even a wider range of exposures to show. Let's take a look at shot that has a whole bunch of things happening. Let's load some bracketed photos here. And we'll take a look at an interior. I'll grab these six images and hit Load. This was definitely shot from a tripod, and there really is not much noise. They were low ISO images and not a lot of chromatic aberrations, so I'll just take a basic merge.

In this case here, we were shooting interiors for a hospital, and they wanted to be able to show what a room looked like to potential people who are going to be staying there for an extended period. This is a hospital where children were going in for long medical procedures and the parents and children, would be living for up to a few months in the hospital room. Okay. We've got fusion for real estate, and lets just play with those same settings. As we adjust the highlights, pay particular attention to things like the light on the wall, and this back window. If you brighten those up, they really start to get quite bright.

And in fact, here they look over exposed. So I'll go in the middle range there for the highlights. Making the window and the light bright, so they do seem intense, but not overpowering. Same thing with the shadows, we can really drag those down, but the goal here is to make this room seem bright and cheerful. So I'm going to take those up, not all the way to where they look unnatural, but a similar position, about five to seven. Playing with the localized contrast, I can dial that in. I want this room to look very natural, so I'm going to back that contrast off, and just bump up the saturation to make the room feel warm and welcoming.

Using highlight depths here, again, look at the bright areas in the scene. And you see that that's essentially adding a little bit of light. That feels good. We'll toggle off the before and the after, and you can tell there that quite a bit has changed to just make the room feel brighter, and more welcoming. Let's apply that and then we can save the image out. The images are fused. We could decide if we want to add any additional contrast. I'm only going to add a very slight amount. Colors look pretty good.

I'm going to back off the red just a little. Same thing for the oranges and yellows. They're just a little intense. That seems about right. Click Done. And Save my image. Let's save that as a 16-bit TIFF file. But I see no need to go into Photoshop. I'm happy with the natural looking exposure as it stands.

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This video is part of

Image for Up and Running with Photomatix Pro
Up and Running with Photomatix Pro

50 video lessons · 2608 viewers

Richard Harrington
Author

 
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  1. 2m 48s
    1. Welcome
      1m 40s
    2. Using the exercise files
      1m 8s
  2. 15m 12s
    1. Loading from a folder
      1m 41s
    2. Loading from Lightroom
      4m 19s
    3. Loading from Aperture
      1m 45s
    4. When to load raw files
      3m 2s
    5. When to load preprocessed files
      4m 25s
  3. 38m 3s
    1. Aligning source images
      4m 5s
    2. Removing ghost images with automatic deghosting
      4m 21s
    3. Removing ghost images with selective deghosting
      6m 40s
    4. Reducing noise
      2m 36s
    5. Reducing chromatic aberration
      6m 16s
    6. Choosing the color primaries and white balance
      2m 57s
    7. Working with single files
      2m 53s
    8. Working with single raw files
      8m 15s
  4. 27m 40s
    1. Working in Unified or Floating mode
      3m 26s
    2. When to use Tone Mapping
      3m 15s
    3. When to use Exposure Fusion
      2m 48s
    4. Adjusting the preview window
      2m 35s
    5. Working with presets
      4m 52s
    6. Add finishing touches
      4m 48s
    7. Saving the image
      3m 45s
    8. Redoing the image with other settings
      2m 11s
  5. 20m 2s
    1. The Details Enhancer workflow
      6m 21s
    2. The Contrast Optimizer workflow
      3m 50s
    3. The Tone Compressor workflow
      3m 53s
    4. The black-and-white workflow
      5m 58s
  6. 27m 3s
    1. The Fusion/Natural workflow
      4m 32s
    2. Exploring the Fusion/Real Estate workflow using photos taken outside
      7m 2s
    3. Working with Fusion/Real Estate workflow using photos taken inside
      2m 54s
    4. The Fusion/Intensive workflow
      2m 54s
    5. Fusing multiple images
      4m 5s
    6. Fusing a single image
      2m 22s
    7. Comparing methods
      3m 14s
  7. 40m 31s
    1. Removing color casts
      5m 15s
    2. Removing tough ghosts
      2m 54s
    3. Replacing a selection with a source
      6m 29s
    4. Refining performance with preferences
      6m 5s
    5. Automating with batch processing
      11m 8s
    6. Photomatix Pro and color management
      3m 12s
    7. Post-process in Photoshop
      5m 28s
  8. 40m 2s
    1. Challenge: Preserving original color and applying contrast
      2m 26s
    2. Solution: Preserving original color and applying contrast
      5m 20s
    3. Challenge: Creating a feeling within an image
      2m 10s
    4. Solution: Creating a feeling within an image
      9m 58s
    5. Challenge: Creating the look of a digital painting
      2m 18s
    6. Solution: Creating the look of a digital painting
      5m 53s
    7. Challenge: Help a subject stand out from the background
      2m 3s
    8. Solution: Help a subject stand out from the background
      9m 54s
  9. 1m 4s
    1. Final thoughts
      1m 4s

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