HDR and Replacing Skies
Hdr we so there's a difference there's bracketing I talked about in my photo shop leighton for landscape photographers class yesterday where I bracket everything and that's just to make sure we capture all the highlights and shadows just to cover myself in case I need toe added emerge layer but more just to make sure I captured then there's hdr which to me is a more of a different art form it's more of a painterly effect you know it's it's I wouldn't use it for my outdoor photos because I I don't really care for the way it looks um but it's got an effect to it it's got a grungy type of surreal works great for indoors city lights things like that so this is st patrick's cathedral works great for something like this to really bring out all the tones and everything it will almost make it look like a painting but will select all three photos photo headed in merged hdr and photoshopped and it's going to jump over to photo shop and it's going to use its hdr dialog box so it opens up with a w...
hole new a whole new set of settings inside of it this one needed the raw files so it's going to take a minute feel free to talk amongst yourselves way I wasn't too bad um so emerges everything together easy thing to do here is if you want to use photo shops hdr take this from thirty two bit to sixteen because it opens up all these settings for you down here. So what kinds of things would we want? Tio gamma I think a gamma as like the flattening tool so gamma will make everything flat will kind of remove all contrast for exposure does exactly what you think bumps up the exposure detail is going to start adding that grit to the photo radius and strength as I increased my strength, you'll see it starts to pull out some of the contrast in their and then radius you're not even going to really see the radius until you bump up the strength but radius is going to give it a little bit of that glow so I'm not going to go quite that high I'm kind of just moving everything around to show you shadows highlights vibrant saturation these are all things we have inside of light room, so we'll end up back in light room that's where if I wanted to do anything, I finish up that stuff uh kind of push that a little bit play with the gamma all right? So uh we don't have to worry about it here if you had something moving through the photo, if there was a car going through the photo or something like that there's an option to remove ghosts a little bit weird in a church photo we'll turn it on and see if and he goes appear but but if you did like he did a night shot of the city and there's a car going through it'll it'll attempt to go in there and remove the ghosting that happened from that so let's click ok and this will bring us back over into photoshopped in seven to ten minutes from here we could do cloning healing you'll see that there is ah there's tiny little things down here so I could grab my clone stamp tool optional all click and just duplicated just move it over a bit eric go so I could go in there and clone and get rid of all that stuff well, come on some other things that we probably want to do is fix some of the distortion I think we can do that instead of late room so I'm just going to go to file I'll save and this is going to bring us right back over to light room and we'll go down to the lens corrections panel I'll try there's the upright section auto not so good level nothing vertical horrible full even worse from there we'll go to manual and so now we can rotate that around a little bit. I know the arc if you're there's an architectural photographer out there you're screaming over the lines that are moving again as an architectural photographer and your clients that's important, the rest of the world doesn't care okay, so if you're an architectural photographer yes, you have to go in there and you have to start going to your vertical perspective and doing all that stuff you probably used until shift lens and different things to help avoid those things. But, you know, the rest of the world who's used to taking their iphone and taking a shot like that is used to those lines, so I don't go crazy fixing them. Um, so we go in there and again, it may be rotate just a little bit, perry and then I can finish it off. You know, maybe a couple of little bit of a thing yet some sharpening lots of sharpening on hdr photos. A little bit of whites, just a white balance, but that's, our that's, our final image mohr kind of goes along that painterly type of a look. It's gotta have the right photo for an hdr and that's what's important about it. Okay, yes, sir. Where do we draw the line between but the bracket, that photo in the hdr because typically we see a photo like that people just assume is automatically hdr. Yeah. Where do we draw the line? I get like, are you seeing what's? How much is too much are the difference between the two hdr has become more of an effect all right, that's, really what it's become? It used to be a tool to merge or highlights and your shadows and sometimes used a lot of architectural photographers still use it, but aside from the need for it where I can't capture my shadows and I can't capture my highlights, and I need that to merge the photos again, aside from that to me, hd hdr is more of an effect these days, and so people look in those that an hdr, and even if it's, even if I didn't combined yet, it's got the effect on it, all right? And so that, to me, is where it's drawn is when people think of hdr today, they're not thinking of it. I want my shadows and highlights the balance there thinking of, oh, that looks like an hdr. So if I was going to show you guys, um, with if you go, I'll go down here to plug in extras perfect effects from on one has an hdr section in it ends, you'll see a lot of the a lot of people are actually just converting their photos hdr just for the effect, like it's, not actually to get the shadows and highlights so but when you go over to the hdr look, um, I got go too surreal. And you can already see it starting to get that that effect to it if I had a layer to it and I go to dynamic contrast because a lot of this stuff is contrast go down here and dynamic contrast maybe even go to surreal on the air we go let's make it look horrible um and then of course who doesn't need a vignette to finish things off here we go but that's before that's after you'd say that as a priest sent in here and just go to the pre set menu and saving you have instant hdr effect that to me is what hdr has become a star has become more of a style izing then it is it is for the need of hdr okay s so we got our hdr and uh for those of you that were here yesterday you saw me replace the sky but that's one of the things that we still need photo shopped for if I wanted to replace this guy was my morally opposed she's not here today I made a joke of like anybody morally opposed to doing this like me she was as she is very nice we talked about it later ah but sky replacements I got the same er yesterday ah photo edit in and open as layers and photoshopped I'll preface this by saying the same thing I said during my landscape photographers class yesterday which is you need the right photos all right it's got to be a photo that lends itself to replacing the sky if if this were taken on an overcast day and I wanted to throw this guy in there there's no trick in the world is going to make it work for you ok it's got to be it's got to be photos that lend themselves to it I'm going to flip it just to put my sky on top and we'll just take our quick selection tool make a real quick selection of the sky go to refine edge the reason why I'm using refine edges just right over here on the trees so in case you missed that's the selection that we went in there with and that's but just that quick brush stroke did so pretty amazing stuff uh well click ok so we've got our selection I'll go up to my sky layer and going back to our layer mask basics if we have something selected when I click the layer mask whatever selected stays so that stays all right if I go to the move tool and I try to move the sky you'll see that it moves the layer mask with it which is not what we want on dh that's only because we're linked to the layer mask so if I turn that link off now I could take the move tool and move it into place and then also we size a little bit reduced the opacity but the reason why it works is because that sky has the sun going down over here and the original photo has the sun going down over there. So those are things that you want to look for when you can match those things up if you're not morally opposed to it, you can master those things up and you can actually replace this guy pretty seamlessly without anyone being able to tell but it's when the lighting's totally different it's an overcast day and you're trying to take a bright colored sky there's so much more to a scene than just the sky it's all that like that it casts and it's it's usually more work than I never want to do to try to replace this guy tried to just go back to the location which I was telling my story yesterday. This is the big sur coast line and it took me like five years to get this shot. I was literally here four or five times in five years. Every time I walk up with fog, fog, fog, fog I'd be driving and be clear and I get I enter the big circle and it fog so and all the all my friends would tell me oh, you got to come in this month, okay? I go in that month, fuck, it was always that way