Professional Documents
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Page 01
The next photo had us moving right into the dining room. Since most of our lights were set up, we just
turned them around to light the dining area. You can see the raw file here and its need for lights and
PS work. We started by setting up one large umbrella on camera right about 3:00. It was sitting on the
edge of the kitchen. We next added a fill on the right of the camera and a small strobe on a floor stand
and grid was placed right behind this wall and column on the left.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 02
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 03
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 04
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 05
This is an excellent approach to creating more creative lighting. When I went into PS, all I did was add a
Curves adjustment layer and add some subtle contrast for more snap.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 06
House 2
The client then had us move to another house and we started in the kitchen. This kitchen is the same
layout as the previous home, but had natural wood and lighter floors.
I chose the same approach, a large umbrella outside to send light into the kitchen. However, this time
the sun was also coming through the kitchen window and creating hot spots, so I used a large diffusion
panel clamped to a light stand and leaned against the house to have a totally white window diffuser. I
then removed the umbrella and shined the light right through the diffuser. This approach is only to
bring the brightness level up.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 07
One thing the client said they had to have was the etching in
the glass on the front of the pantry door. So we placed a light
inside and tried several placements before settling on bouncing it off the ceiling inside the pantry. It actually is readable
without the light inside, but has no depth and gives the feeling
that the pantry is a dark hole.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 08
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 09
In this screen capture of the Photoshop layers, the first layer is a Curves adjustment layer.
This was used to get rid of some of the color. The image was quite warm from the ceiling spots so I
added some blue/cyan, and just a hint of it. In this image the center light in the three hanging lights
was burned out, so I copied the glowing yellow of a different light and pasted it into the center and this
is layer 2. The top layer is the hot cabinets and you can see this with that layer turned off.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 10
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 11
The Bathroom
Our next stop was to shoot a bathroom. Oh my gosh! There was no room to work in here at all. In fact
you can see where I had to be to get the shot. I was squeezed in here so tight that I could not come
out for fear of bumping the camera. My assistant moved everything. You can also see the main light is
in the doorway and another light is next to the camera.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 12
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 13
In Photoshop, I opened the base image and then opened the +1 brighter exposure.
Using the move tool I drug it on top of the base exposure, added a Hide All mask, selected a soft white
brush, and painted the darker wall above the bathtub. This brought in the lighter wall. I also painted
over the cabinets and rug on the floor. Then I opened the lamps exposure, drug that over, added another mask and painted those in. Next was a Curves Adjustment layer to add a hint of contrast and
brighten the image followed by a Hue/Saturation adjustment layer to pump up the color.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 14
This was all followed by the Lens Correction tool to straighten the edges and then delivered to the client.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 15
Master Bedroom
The last photo to be shot inside this house was the master bedroom. This was also the most difficult of
all the shots. The first consideration was how to light and where to put the lights since we were showing the whole room. The first light we tried was placing a light behind the TV stand on the left to add
light to the bed.
We tried this and
you can see the hot
spots it created behind the TV stand. I
tried a few options
using black Cine foil
around the light to
stop the light spillage on the wall, but
it did work, so we
removed it. I next
placed the behind
the curtain at the
far window. With a
grid on it, it was
pointed at the pillows on the bed
and this worked
fine.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 16
Look at this close-up and you can see the light head behind the curtain.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 17
The next spot to consider was the foot of the bed which was a bit dark, so we placed a light with grid
on a floor stand and placed it behind the couch to light the foot of the bed. On camera left is a large
umbrella pointed at the couch. On camera right there is a light box aimed at the bed and a grid aimed
at the right side of the couch and right side of the table. You can see these in the lower right corner.
One more umbrella was added as a fill from the cameras position. The windows did not appear to blow
out so we did not shoot another exposure for them, but we did bracket for the lamps just in case.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 18
Once in Photoshop, the first problem was to eliminate the shadows on the ceiling cast by the lamps hitting the bed frame. The first step I took was to use the Polygonal Lasso tool to make a wide selection
around the light shafts. My primary reason for this step was to protect the ceiling edge right above the
bed and not have any retouching drop into there.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 19
Duplicating my background layer, I went inside this selection and began using the Clone Stamp and
Spot Healing Brush, switching back and forth and very carefully blended the colors all together.
The next step was to add one of the bracketed layers that was brighter by +1 stop. Using the Move
Tool I drug this image on top and created Layer 1. Adding a Hide All mask, I painted the front of the
nightstand just to lighten it a hair since there was no place to put a light to brighten it up. I followed
that with a Curves Adjustment Layer to add a hint of contrast and then a Levels Adjustment Layer to
set Black and White points.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland
Page 20
I next saved my PSD layered file, flattened the image and use the Lens Correction Tool to straighten
the image.
All photos and text Charlie Borland, all rights reserved worldwide. No form of reproduction or usage - including copying, altering, or saving of digital image and text files - is permitted without the
express written permission of Charlie Borland