Adobe Photoshop Integration: HDR
We've got our two shots here and we've only got two normally you'd have three, four, five whatever you have just a quick set of bracket a chance in, um, chicago mainly what I wanted to do was this is the appropriate exposure for the image I wanted to pull in some sky detail, so we want to pull those together, and we're going to do that by going also back into tools into photo shop, and we're going to say merged hdr, pro merged hdr pro, and we're going to do it differently than we've done it merge days. Jr pro has been in photo shop for a while, but now since adobe came a raw is built into the file, it allows you to do a huge amount of work to the file that hasn't been possible before and we can come up here, we can use our complete toning in adobe camera. So what is going on here in the past? What we would do is this local adaptation we take it as far as we could, we'd move all our sliders, but since we have adobe camera raw built into photoshopped proper, we can now take thirty bits o...
f information thirty two bits of information and that's thirty two bits of information per channel that's, too, to the thirty second power times three you can do the math no, you can't do the math because I can't do the math and I could've can that number if I wanted to it's a ridiculously large potential number of colors those are potential number of colors it's not actually that many colors but it's a huge amount you'll notice as soon as you go into thirty two bit mowed over here let's zoom up here for okay the default setting is sixteen bit we're actually going to process it and try and do all these different tone mapping capabilities but now most people are doing thirty two bit you completed a cr shuts down the rest of the program and basically where does is it takes the zillions of tones and puts them at your disposal inside of an engine that was meant to do tone mapping and has dodging and burning and everything else that's the problem with applications that do global hdr tone mapping its all shadow all highlights whether it's the subject matter or not you get thes illustrative files sometimes and you really want to take advantage of zillion colors and then tone map it in a cr and again the great thing is that a cr isn't help built into photoshopped so now what you'll see here is now we've got a much closer tone I mean it does already a great job in there we've got our shadow member this was almost black when I got the clouds they have tone in it but now they are getting giving me the full range and now he can do the tango for two auto yeah met maybe a little bit actually let's not even use the tango so well like that I think I like the drum of the cloud's shadow yep, I can pull out some shadow detail clap clarity love clarity if you haven't noticed vibrance we're going toe make that kind of iridescent that's why we can do it um highlights okay, we do have some highlights how many pull those down a little bit and let's we'll add the exposure a little bit if I take that exposure up I'm going to then find tune that blacks down to keep that contrast. Okay, so our tango of exposure of auto if we need it we didn't exposures are mid tone values clarity for ej contrast shadows and highlights to pull out detail that's in their vibrance to go a little crazy and again, if we wanted to, we could do that last step of the tango to do a little bit of and yet just to draw the eye into the center portion of our image. Okay, so um here is our before after before after what was a completely blown out sky and a completely black building were now able to tone map into this one file and you'll also notice one other thing that it did out of the niceness of its heart what did it d'oh and these are two separate files it did that as a smart object as a smart filter so I can go back and re tone map this any way I want because camera raw is a smart filter okay that's very, very cool it's also very cool this is going to be an ah ha moment smart filters which we haven't done yet you can share these settings not by replicating the numeric values inside the filter, but you can just drag and drop it from one open file to another by simply dragging and dropping the word smart filter from one open document to another. So if you've got a siri's that are going to share the same sort of tone mapping there's nothing stopping it or that filter set the the motorcycle that I painted that had four different for five different filters in it you've got it now little portrait, another bike or whatever you can drag and drop that over to a different photograph and it automatically applies it if it's a smart object so the sharing of settings between smart objects but simply dragging and dropping is cool awesome bitches so goy this name okay, so there is, um our file questions about hdr the one thing you wanted and you could do as many explosives as you want doing it from the bridge do you want to do a basic tone map in adobe came around? You could I would do that more or less to see what's there in the file and see if you really like it but you really you are going to do a cr, but what you want to do is get those trillions of colors that air disposal by combining the bracketed exposures it's going back to the raw data so just because you go into a cr and you go, well, I'm going to do I'm going to use one image and I'm gonna tone may have it two different ways and I'm going to duplicate it and when a fool it in hd are pro to think that I'm actually combining two exposures so let's actually slow that down a little bit. Can I take one exposure duplicated processes to separate ways inside of a cr? Get a light in the dark, select them both in bridge and open them up using this little trick to extend and now have billions of tones at my disposal instead of million's. No, because it's going to go back to the raw data if you're starting with raw files it's going back to the raw information and it's doing it based upon that so it's almost ignoring that metadata it's looking at sensor data when it does emerged hdr pro so in other words, you had all the tone data here you were already in a cr dude get over it you got it you're not going to get any more by doing this trick this has more information because I took two appropriate exposures one for the sky and one for my shattered detail and now I'm getting more bang for my buck so you can't just do that you can if you want to you can combine bracketed exposures, take one shot, process it two ways and then use something like photoshopped to combine those in ways that you couldn't do in don't be a moron you could do a mask and play with combining exposures I'll show that to you after the break about how you can combine exposures in photo shop in ways that are very different than how you would do it inside of a cr so there is you know again just like what we did here this is is maur we're getting out mohr information because I have a correctly exposed guy and a correctly exposed foreground I'm getting more done out of this image that I would had identity with one exposure inside this year the dobie has done a great huge amounts sometimes you you look may look at an update from one version or another you go as it worth it there is so much done even if it's a performance under the hood think about if you get a twenty percent performance increase, you may not realize that the first time you work on an image, but that will that twenty percent faster builds up over time and that's, huge savings in terms of both time and money. Um, but then some of these, you know, nebulous little things like this ability to do tone mapping toe a thirty two bit per channel file is awesome. And the fact that now we have a serious guess what I'm told map it in there. No, you said there's something the shadow highlight fielders, how you used to do that sort of thing, but what we just did there, that was still global adjustments. I could have gone in there with hand, you know, dodging every tool that I haven't. A cr is available to an image that is potentially thirty two bits of information per channel. Ridiculous amount of information is that, and they made it as easy as possible. So, again, this idea of there's, a lot of great third party hdr programs out there, but what they did by simply allowing you to take this raw information and put it into something that georgie no es si r and have all of its tone mapping capabilities, both targeted and global it's, huge, it's, huge so, yeah, I think it's definitely worth the price of admission, and, again, it also extends one thing I haven't done in this class yet. It actually brings up a good point. That's. Once we go into photo shop, we've been doing this all on photography, but there's, nothing stopping you from doing this stuff, too. Graphic design, work, toe logo's, illustrations, clip art. This ability to exaggerate edges even soften. And do you know foh blurring, adding the no ways doing some, you know, special effects with black and white or tenting. All of that stuff can be done to graphic design work as well.