HDR: Merging Files and Color Adjustments


HDR in Photoshop: Beyond the Basics


Lesson Info

HDR: Merging Files and Color Adjustments

All right, so let's, go in here so I've got the shot here I didn't in diff valley. And so he is an interesting thing I do want to show you here is, you know, this is six shots and, you know, because the other thing is we tend to formulas things really quick, right? You see something presented one one way, and in all of a sudden it becomes the formula. It must be done this way. You know, I I saw, you know, someone was my class last year and I saw a common use three images he under exposed by two and over exposed by two that's it police zero three images and you know, it and it's kind of scary because that's almost becoming like the rule now you do is you are three photographs, no hdr could be two photographs, it could be seven. It could be nine it's, whatever you need to capture the dynamic range in the scene that you're looking at, you know? So for example, I was kind of funny because we tried to do it in the studio and we couldn't well, I mean, we could, but we didn't need to because ...

everything here is balanced, you know, we get these beautiful tino flow lights and everything everywhere we've got a very, very balanced lighting and here there's no need to shoot anything bracketed in this room on the set because everything is going to fit within a dynamic range because it's perfectly lit there are alternative stations called lighting all right so uh the reason I did this because I wanted to capture the entire range so I went here from you know, almost black and I'm catching just that little bit of sunlight there and then we're going toe almost white and we're opening up a little shadow detail in here now I could stitch the six images together and we're probably worked quite well but I'm not going to for the sake of time because it takes a little while for these two persons for to turn so what I'm going to do is mention going to skip some I'm just going to grab three of these and here's the thing that does work you can actually do that sometimes so I'm just gonna grab three if I had more time I would do six but you're going to get a pretty someone result mint honestly what you're seeing here on the screen you know, going to notice a lot I mean, once you printed out you would see the difference so I'm just gonna merge these I'm going to show you here I'm going to go under the, uh tools and we're going to get a photo shop and most tasty approach so this is essentially what we did in light room we're doing exactly the same thing except doing it from bridge now the reason that we're doing the same thing is because there's nothing happening in library more bridge they don't have hd are built in what it's actually doing is just calling photo shop and is telling us to do exactly the same thing so what I'm doing right now is identical to what I did in light room and it's just we're just starting from bridge instead same images same folder doesn't really matter so a lot of the time you know the questions at this early point of the discussion and probably going to be answered anyway so um so what would covers about the three images here and notice I've got this one is minus four in this one's plus four three point three one sometimes I get slightly out doesn't really matter don't freak out about it doesn't really matter so he is another option I'm going to show you right now you know how we can say this is a thirty two bit file and then we can go in and we contend map it in light room as we're exiting in a surge of that well there's another way we can do it too is if we can click on a button complete toning in camera or we contend it on here and then we click down tone and a c r so what is going to do is this gonna miss the thirty two but fight together just like it was before? But now we're just going to go directly into camera roar and we can just tone mapping it right away so this is the other workflow and these are pretty much older different work flows that have built into photos up itself so as you can see is a lot of options this is fine made the flow chart and I'll show you the flow chart like I don't know if I'm just going to confuse you with it but I took me like nine goes to actually make a flow chart because I'm like it's really simple but I don't want to over complicate it but there's a lot of options and what is it really just depends on what you want what are you looking for? Okay, so let's have some fun with this? This is a little bit creative so I remember what I'm going to do is I'm going to cost my mind back when I was here in death valley and I remember going out remember was bitterly cold and dark it was very, very dark anyone being to death valley I mean before that sun pops up it's it's really dark and then you just get this kind of a blue is like this blue kind of well, look on everything and then the sun comes up just where the sunlight hits, it becomes this golden color, but everything else is bathed in this blue and it's very, very difficult to kind of show that in camera so let's have a look at this and see what we could do, so what we're going to do is we're going to take out highlights I'm just going to pull those back okay? That's looking kind of coal and he's another neat thing here about working with hdr and a bracketed shots enable us to do amazing things with the sun rays then we can control that you could never do from one shot, so this is another thing about doing really hdr and remember the donkey up in the air, you know that you know that's nice to come back and say, hey, I'd like to do this effect, but you know what would move beyond there a zionists, which is great so I'm just gonna fit of you here, so you know, we can if I play around this look at this, I can make that son really changed, so what I'm going to do is I'm just going to bring it up a little bit about their maybe open up the shadows a little bit and what I'm going, what I'm concentrating on right now is this background area here so I'm just going to bring this back and you put some blacks and a little bit by the way, you know, if you turn on this little clipping thing here where it shows blue says we're starting to clip and you know, why would I be clipping when I'm working with which to your um there's another thing blacks are fun and shadows of your friends you know, sometimes just because you can doesn't mean you should right when we should instead we have the ability to open up every shadow could you imagine reading a book and every mystery every plot line being revealed on the first page you know, you start a movie and you know the director goes on all this character dies in this character dies now enjoy the movie essentially that's what you're doing right cause sometimes you like to have the shadow as you want to leave a little something to the imagination as the intrigue it's like, you know, people look, I can't quite make it out what's in and what's hiding in the shadows and then you know the story starts to come together people you know will start you know, imagine things it's not to build their own story and in mind and you don't want to take the mystery and the intrigue away just by like, you know, bomb here it is all the detail and everything and it's like okay that's great, but it's it doesn't invite you into the photograph it doesn't make you think it leaves nothing to the imagination and, you know and as I mentioned earlier, iran is nothing more powerful than your imagination technologies just starting to catch up to what we can do by the imagination is still much more powerful. So anyway, so having said that we're doing that now we're gonna just create a little grady in here so we can use these localized adjustments here inside a camera rolling so I'm going to hold the shift key and what it does is just constrains this too perfectly horizontal and I'm going to pull up this grady a a little bit now I need to reset it because it looks horrible, so I just get a zero there and now what we're going to do is we're going to make some adjustments here to this foreground because think about it here we are in this scene and this son is hitting now who's you guys hold then sunrises who is not photographed the sunrise don't be ashamed. I mean, you might be a sunset person. I'm I'm like you. I don't like to get up early either, but one of the things that you'll notice that when you're there is that this will cost a shadow and if you've ever seen it happen you'll see the shadow will slowly shrink as the sun comes up you'll see the sun start to move across and you're literally see it come across that this foreground area here the sun is hitting here in his golden but back here the sun hasn't hit that yet it's still in shadow so we're just going to open this up we're gonna turn exposure up a little bit so what I'm doing is I'm lightening up this foreground a little bit and in fact I'm going to give it a little bit more and uh so I kind of think ok this is more like what was happening when I visited this is what I saw and I'm gonna take the color temperature I'm goingto do you have a little bit of a golden touch see how now is just not a look a little bit golden on the foreground now that's more like what I saw when I was there so you actually have to remember you know as I'm really glad that I remember pitches because I'm terrible remembering other things like names and numbers you know what it really is is I actually I have to confess I have a photographic memory they just stopped making film for it everything went digital so that's that's the problem so I can remember pitches really well so you got to remember what was it at that moment why did you take their photograph I mean, you know if you're in a workshop and someone said click the shuttering way will now take a photograph there is one thing but if you're there what was it that inspired you take their photograph of that white why that scene why and this is what we're doing when we're processing the images to take yourselves back what was it about that photograph that inspired me to hit that shutter and take that photograph that's what we're trying to bring back into a photograph and you know and that could be cropping it could be processing could be so many things right now we're doing it with persisting so I remember this beautiful golden sand was just turning to psx assault but you know and in back here was kind of a bluish color and as I mentioned so we've just done a localized adjustments I'm going to click away here once we've got this localized adjustment and we click away on some like a hand told over a magnifying glass the great thing about that is everything now just a just to get to see that so we can rely on nor dark in the whole photo so I'm just going to take it back to about there and I could even go a little bit more extreme you know I want to emphasize this a little bit because this was really powerful for me so I'm going to take this brush and I'm going to get back here, I make the bus a little bit bigger and I'm just gonna paint across here now, that's not what I want, but I just painted my brush and I could do it the mosque if you want like that, I'm gonna zero this out, and now what we're going to do is I miss you want to put a little bit of a blue tint in there, there we get just a touch because I remember the contrast between the blue and the gold. I was just so powerful at that time. So you got the cool night and in the days meeting the night and the days chasing the night away, its zx such a powerful moment and that's what I want to reproduce, so we've done that. So now we're going to go down here and maybe a couple of little more adjustments, giving a little touch of clarity because I really want that to pop in the foreground and maybe even get a little bit of vibrance. So now I'm feeling like, you know what? This is more like what I was seeing at the scene, and I couldn't have captured that on one photograph, you know, maybe the whole thing, maybe just get just a touch brighter just give it a little touch that we go and and it's going to click ok, so you'll notice their bomb we've got that what we've done with now tone map that but check it out with still, you see, a little slider was still inside the thirty two bit space, so what we did is when you go from the hdr probe, when you moved in together and in utah map in camera road directly from there, it stays in thirty two bit, so that means I could do other adjustments here in a thirty two bit space, and, you know, quite often, I do that, and in another example, we're doing a little bit, you know, the next example will look at doing some stuff inside the thirty two bits, basically aa lot of show you actually, while I'm in here in a thirty two bit adobe has enabled a lot more filters. I think the last drop was asian twenty fourteen taub's october update. I think it was twenty two filters were enabled toe work inside thirty two bit space. So if you look in here, all of these filters now will work in thirty two in hdr. So what does that mean? That means that we can apply these adjustments all that dynamic range available, which means that these filters are like filters on steroids, and banding is not something you have to worry about as much, you know, because that's the big problem, right? When you feel to some, you get the banding where it looks like the little lines in it and in a thirty two, but especially don't get us much banding, particularly this shut eye, many showing three if I had, you know, the full five or six that I did together, I mean, banding is almost non existent at that point, so so we can go in there, we could do all that stuff, and then once again, when we go to put it back, I think I sent my preference for camera rules still, so we can still convert it, but at this point I could also save it, and I could come back to this city to be filed at this point and work on it more later if I wanted or once again we go down to an image, but what I'm going to do is I'm going to go back to my preferences because I'm going to show you another little trick it is in the file handling turn this off from using camera brought now, as you saw when we did that before I could open it is a thirty two bit to camera roar and adjusted in this case I just want to do my camera roar now with thirty two, but I'm like I want to do any more yes, you could doom or or no, we're done so we're just going to go and I'll show you howto preserve what we did as we go into the mode we gonna grab eight I'll grab it this time because it doesn't really matter and I'm going to merge these and what we're going to do this time is these options we don't want to use these options. What we're going to do is go to exposure and gamma you remember I showed you the thirty two bit preview options before same thing here if you set this to zero and won and in click ok, this will convert this from a thirty two bit down to an able file and look it completely preserved about changing anything, so if you're done, you don't want to change anything. I mean, I do that I'll go back there again because this is a really important step is we want to change our settings here, not from local adaptation, which is a local turn operator, we're going to a global turn operator, which is exposure in game and we say if zero for exposure, that means we don't want a bride and we don't want a darker gamma was sitting in at one, so that is that way, boom would done. It doesn't change anything. We preserve exactly how we wanted photograph to look.

Class Description

Have you ever shot a scene only to be disappointed when you uploaded the images later? High Dynamic Range (HDR) can ensure all the detail and colors you witnessed in the field aren’t lost after your shoot.

In HDR in Photoshop, Colin Smith will teach you new ways of working with HDR. You’ll learn how to take capture data and turn it into breathtakingly beautiful images. Colin will show you how to create HDR images so realistic that you feel like you can reach out and touch them.

Software Used: Adobe Photoshop CC 2014.2.2