Join Richard Klein for an in-depth discussion in this video Finishing and final output for the small living-room image, part of Enhancing Interior Architectural Photos.
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Now I have opened the living overall01 layered version of a file. This is the version of the file that has the windows and the interiors layered together with the mask, and it's time to do a little bit of final color correction and then we're going to output for a specific size. So, first of all, let's have a look at what color correction we may want to do with the image. Overall to my eye looks really good. I'm very happy with it. I am noticing that we are a bit red and yellow up in this portion, probably reflecting off of the ceiling.
And we've also got some cyan. Looks more cyan than blue to me, but it looks like we've got some cyan over there on the wall. So we'll do a fairly gentle correction and we'll mask in a hue sat layer and we'll just bring down our yellows, might need a little red out of that, but probably, mostly yellow and our cyans. So I'm going to create an adjustment layer. Hue side adjustment layer, and the first thing I'll do is get the color picker, and we'll sample this color. It is yellow, and then drag it back, and as I'm watching the walls, and I'm not paying attention to anything else, just the walls.
Of course we can always go back and re-adjust, but I'm seeing a minus 27 looks pretty good to me. Now, you will notice, as I turn this off and on that it's taken the fun out of our ceiling, and in the edge of the sink over here. Yellow is affecting it. So we'll do a little masking to control that. So what we'll do is, go in and paint in the mask. Right now we have it turned off, and there are two ways we could mask this. One is, we could grab the Pen tool again, we could make a nice, accurate selection around the ceiling.
And we could do the same over by the sink area. But I think this move is so gentle, we can do with a big soft brush. Just brushing that edge and letting a little bit of a transition over-stain the ceiling into the, the wall, and probably not even notice it. So I'm going to pick up the Brush tool by hitting the B key. And actually, that size is going to work pretty well for me. So, what I want to do is be sure that I have the mask targeted. I want to come over and double check and see that I'm painting with black, and I also want to go up and take a look and make sure that my opacity and flow is what I want it to be.
So in this case, everything looks great. So, I'm just going to paint in this mask. And you'll notice the color coming back into the ceiling as I paint. Okay, now let's turn the mask on and see how I did. I'm going to use the forward slash key to activate the mask so we can see it. And you can see, I over painted just a little bit and I think I probably went a little too far on this side. So while we can see the mask, I'm going to hit the x key, so that we can paint some mask out, and I'm just going to come by and push that mask up, just a smidge.
We'll do it all the way down here, too. A little less influence, there we go. Let's do the same on this end. We'll take a little of that out. And really, what's going to happen is, is that we'll get, we'll, we're now going to be effecting the yellow in the ceiling a little more, so let's take it off and take a look. That looks great. I think we're doing well with that. Next, what we want to do is go back to our hue sat and let's go ahead and take a look at this cyan color we have on the wall over here. I'm not sure where that's coming from.
So I'm going to pull it down and that cyan is going to turn a bit more grey, as I come down. Okay, now lets turn this layer off and on and take a look at it. That's good. That's got it. So, we could I suppose. Let's take a look back. I'm going to go back to our mask, and our big brush. I'm going to pick up the brush again. Oh, I have to turn the layer back on. Be sure the mask is highlighted, double check the color, I'm painting with white and I'm painting it with 100%.
And I'm just going to come in and mask that color back into this region. I'm not going to go up into the light, because I think it's too much up here. But I am going to stay down here by the sink area, good. So that's it, so now we've got our color correction done. The next step will be to output this for our final sizing, so let's say that our client wants to go to an offset lith press and they want to print this at 8 and a half by 11 using 300 dpi. So that being the case, we know we're going to need to be about 3,300 pixels in our sizing, because 3,300 pixels at 300 dpi is 11 inches.
So the first thing I'm going to do is come over and flatten our image. I always like to flatten it because then I don't get fooled by channels that might be there. We'll double check our channels. Okay. Because the Layer mask is actually living in our channels palette as well. And sometimes I'll throw that away mistakenly. So, I like to do it this way instead. Alright, so we have all our channels and paths are gone. Let's go up to our Actions, let's see actions. Great, here's our HR output. So, I'm going to click, let's just have a look at this and make sure that we've got turned on what we want to turn on. We are going to change our image size.
So I'm going to put a stop at the image size. Unsharp mask, unsharp mask, fade, fade, fade, fade, fade, and we'll do a stop at the save so we can tell it where we want to save. So we're ready to run. So I'm going to hit Play and here's our image size dialogue box. So instead of 22 inches we're going to say 11 inches. And our Resampling I'm going to go Bicubic Sharper because we're reducing. Say OK.
So here's our first unsharp mask filtration. I'm going to take this up, I always like to look at these at 100%. So, I'm going to use Cmd+Option+0 to zoom in so I can take a look at what's happening here, and turn this off and see that 20/20 is working for us well, it is. It puts just a little bit of contrast in, gives us the feeling of sharpness, but it doesn't push anything in the clipping. That's working just fine. You'll also notice, as I'm scrolling at around 100%, that I didn't take the time to do dust spot this image.
I'm assuming you guys all know how to dust spot now. And we're not going to worry about that. Okay, so I'm going to say OK. And now here we are at our second filtration. Now I'm looking for are high frequency areas. So I'm looking for the texture in the chairs like that, right here. This is a spot where this texture is going to be popping out, and I'm going to turn this off and on. And you can see what it's doing to that texture, it's adding just a little bit more of a highlight to it. That actually looks pretty good, but let's come up here and keep an eye on our noise and make sure we're not sharpening our noise too much.
Now our noise looks just fine, that tells me that if we wanted to be a little more aggressive, we could. Now normally, when you go out to an offset lith press, the pressman puts a sharpening routine in that will just scare you to death. And it looks way over sharpened on screen, but it works on his press. We're not sharpening that. We're sharpening for the screen at the moment. But that looks really good to me. I think that this, amount in radius and threshold, is working just fine. So I'll say OK. And so I'm glad I put a stop at the Save As, because here we are, it's going to save in chapter two.
And we really want to save in chapter three. And at the same time, we're going to change the name, so we don't overwrite the old file. So, instead of layered, we're going to call this eight and a half by 11. So, I'm going to call it 8.5 X 11. And that tells me that it's been saved for 8 and a half by 11. And that's the version that we have. So, I'll click Save. And we'll say OK. So now I'm going to use Cmd+0 to zoom the image out so we can see the full image on screen again, and that takes care of it.
What we've done is taken our archive master file. We've sized it to eight and a half by eleven at 300 dpi. We did a sharpening routine that was specific to that output sizing. And then we save that as a different name so we didn't override our original file. so that takes care of it for this image. So, next up, I really want to take a look at the challenge we discussed earlier where we're going to take the bowl on the table and change its scale.
To learn how Richard shot the images in this course, watch Architectural Photography: Interiors.
- Maximizing image quality
- Correcting color
- Reducing noise
- Removing moiré
- Compositing images to remove distractions
- Comprising white balance and mixed lighting conditions
- Dealing with over-bright images
- Moving and straightening objects
- Dealing with reflective surfaces