HDR in Photoshop: Beyond the Basics


HDR in Photoshop: Beyond the Basics


Lesson Info

HDR: Photomatix and Compositing

What I'm going to do is I am going to jump into this one here so what I've done is I've just saved this one is a thirty two bit file so we could just open it is a thirty two bit file and we don't have to go through the home bridging thing again so that's why I like to say the thirty two bit all right so here we go we get a thirty two bit faster here's a cool thing about this I can duplicate this a number of times here and I can apply different tone mapping on different on different layers so let's try this is going to the filter here let's do a let's get out of freedom attics so we get a photo medics time mapping software here and for automatics I just have to say is my favorite okay so here we go so we're in here and oh yeah and also presets I'm giving I'm going to give you process for free this that's it no catch s o we so I've created some of my own presets here inside of automatics and you can actually just create those two and here's some of the bill tim ones and one of the things...

I like about this is this really really good for architecture brings out the fine details really really well so that's all I'm going to do in their eyes I'm just going to just hit enter and apply this and I'm going to use that for the buildings and notice it looks weird so who remembers who remembers what we do when it looks weird does any half america I know you guys have been here all week you've been sitting through how many classes? Well forty there will be a total of forty eight forty right now that's a lot of classes so I mean I don't know how you know I could actually just be on the table doing clown acts because your minds must be absolutely melted by now you guys were awesome still being here um so we're going to go into view and remember thirty two bit preview up oceans we said zero and one gives us an accurate display so when things go awry that's how you get him back so don't panic all right? So we're going to get here and we're going to get into the filter let's grab the toe nick one and we're going to do the hdr fx pro it's pro must be good all right it's coming all right so I'm gonna have a look at here what I'm looking for some for the clouds the ad on the school I mean, you know honestly, you know, I probably would dig around and spent a lot of time trying to find the right option but you'll forgive me if I don't write so we just kind of show you an illustration here so we're going to go in there and we're just gonna apply that so I'm kind of digging this for the building's I'm digging this for the clouds and you know, just just for giggles you know we could do something in you know, uh, camera rule if we wanted you know, to bring out some stuff, but I'm not gonna bother what I'm going to do is I'm just going to show you here we can just mask these out so I'm just going to hit the option tea and it would be the old key on the windows machines and I'm going to hit the mosque and what it's going to do is create a mosque hidden so everything is hidden on that layer now, so all I need to do now is paint with white and I can pay back what I want so I've got a lower passage I'm gonna turn that up now he is one of the things to just mention because sometimes people get a little confused is the a pass ity slide it when you're using a walk home tablet persist sensitivity and has turned on here and what checking the brushes panel just to make sure you see that transfer ten and off it goes off tornado knickers on however, if it's turned on here noticed this does nothing said that so always check you turn it off first thing you can control it up here, a lot of people get tripped over that so here's the thing that capacity is actually controlled by my pin pressure right now. So when I said incapacity on here, what is doing is this giving me a monster capacity. So that means if I press this so hard that the pins coming through the bottom of the table that will go one hundred percent if I turn this down fifty percent, I could have a jackhammer on top of this and it's not going to go any more than fifty percent per application, so, you know, you can do to applications of full strength and get one hundred percent, so I'm just going to use a very light touch on one hundred percent, and I'm just going to paint in this building how I wanted to look, so I'm just gonna go in here, and I kind of like that because essentially you can really start to shape the image is how you want and, you know, when you have take your time and a lot of time I'll do is I'll have certain faces like, say, for example, I could have the front faces tone map one way and the side faces time ept another way, because when light hits an object and I'm a nerd like studying lite in real life and how things work and that's where I get a lot of my artistic techniques from to be honest just from looking so when light hits an object at an angle it creates a lot more texture then when it hits a front on and you know that that's why you know when you're shooting models and use a beauty dislike a bomb right front because you don't want to show the wrinkles you don't want to show the texture so you're doing front lighting so sometimes if you want some too look super hyper realistic and really make it look three dimensional these little things like that like dana term map on the side surfaces where the sun will be just kind of kissing off and putting more texture there then when it's hitting it on the front, people won't know what you did, but when they see the image there be like this look three dimensional for some reason this really feels like it's leaping off the page and they don't know why and you know, sometimes it's just a little subtle things when you take that little extra effort and do something that other people might be too lazy to do, one might not have thought of doing that's the difference you know it's it comes down to you know, obviously you got to take a good photograph if you have a horrible photograph in your garbage in garbage out on a limb in is a polished lemon that's all it's ever going to be but when you get to the point when amber has taken beautiful photographs it's those little tiny things that you do tow add to the quality of your image that's going to make it look so much better than everybody else's it's not about like screaming at people with bright colors it's about whispering with quality and sometimes these are the kind of little tips that you want to do so anyway, so I'm sharing these tips even though I'm not necessarily doing it so let's do this here and so what we've done is ascension we've just must a couple of these together so you can see that we've got the two layers you know and if we wanted, you know, let some of that cloud you know, maybe some of this cloud looks kind of cool it at the top here we could kind of do that we could kind of merge it on a little bit just a little I didn't necessary like the darkness there, and so what I'm doing is actually emerging these clouds together too, so you know don't be afraid to experiment you colonels undo it later if it doesn't look good and now at this point we've got three layers and if we want it g o and what I'm going to do is I'm going to go under here under my preferences, and I'm going to make sure in this case because what I want to do is I want to mix hdr atoning and footage up is, well, so had I done another layer with camera, which I could have, I'm going to say hey, come makes all four time mapping algorithms together and one image, which is, you know, it gives you just so much flexibility because each one has its own flavor, so we're going to get a file handling make sure that we've got that there were not using camera roar and now we're going to go under image mode. We're going to change a mowed down to teo sixteen bit and we're going to merge these together and now we get to use photo shops hdr turning as well. So I'm going to get back here and I'm just going todo see how horrible that looked don't do that just looks mehdi and washed out so let's go up here playing around for gamma or a little bit bring that radius down the high radius. I don't think looks good and we're just going to be just kind of tweaking this a little bit so we could get that way and sometimes I'll play the exposure in a gam are off each other let's give a little touch of detail too much see how you can just see it right it just starts to get a little like flickering and vibrant and like you know it's just doesn't look good anymore so there's a sweet spot where things look good if it doesn't look good you know don't go ask your friends does this look good don't justify just when it doesn't look good it doesn't look good you know just back off because sometimes people do that well you know I go to do this and I'm so ok so we're just playing around with here exposure let's go back we're gonna hit our highlights there a little bit and maybe take the vibrance up a little bit take the saturation down play around the shadows I'm still not liking that too much let's go back here and it's just really is a balancing act at this point you just balancing everything to be how you want it you know so this is kind of cool I'm liking that you know is noticed I d saturated you could turn that situation up if you want it I wouldn't take any further than that now one of the things that might have considered doing um you know had we had the time is when I was told mapping I might have created a third layer and oversaturated these lights and in gone in amassed out all those little lights so we could have this very kind of gloomy skybridge kind of a building with these, you know, bright lights symbolizing the warmth inside the building, so, you know, that's, something I might have done uhm and also I probably would've got rid of the construction crane, but, you know, that's a whole a whole other story, so we're just going to go here and we're going to put these together and and then we go, so we've done that now aa lot of the time, but I would do at this point to is a probably a little bit more dodging and burning and just really shape of this image and apply a shopping like a nun, sharp mass was something to just really make it pop. Now, the thing I would do if the un shop musk is, I wouldn't apply it to the whole image. Well, let me just let me just do that real quick, so I'm just gonna get here, and I'm just going to compare this to smart object, and I'm just gonna playa sharpening, once it gets there, we're just going to just fill to sharpen, and we're just gonna plan and shop mask here, now, this is something, you know, we're going to get into much more detail and smart filters class so I might even push this a little further than I would want and I'm not even going to talk about all the city and say I'm just going to click ok? And then I'm going to grab this hit come on, ida inverted so what we've done is we've now created their filter on a hidden marks just like we did earlier on when we had the mast and now we can paint not just with white but with precious sensitivity and now we can start to blend in that sharpening you know, we've got two hundred fifty six levels of sharpening that we can play with now just by gently while actually lives was two thousand twenty four with the welcome here so we've got a ll these areas so you'll just go in and you would actually zoom in on one hundred percent when you when you're doing this, you know you'll zoom right in here and you'll start moving around, you know, and just painting this, you know, which obviously, you know, that through the matter is I'm doing an image like this I'm going to do high quality I could spend two hours just on this one image easily, so so you're just gonna paint in that sharpness way you want it and you can kind of build up you defer field and you kind of look and feel like that so you know, I think that's probably over got time for, um we go any questions or anything like that ever. I'm wondering what the biggest mistakes that you see that people dio in hd are trying to do good each year. The two biggest mistakes that I see in eight str is halos on halos looked like this. Hang on, let me just I'm just going to get rid of that, and I just flatness is probably quickest way to show a restaurant layer. Easiest way to show halos when you go in the shop and we use the gun shop mask and, you know, halos of these ages see that when you get the bright ages like that, um, let's, pull it up more like that, there's the first one and that particularly works really bad in when you see things like like rigging on a ship or you get a power line with a lot of the time, people climbing out the power line, but maybe a flagpole. And you see the why I go up there and actually makes it look like some bossed sometimes, and almost, you know, like someone ran in boss filter on it and a way to get rid of this and she just take your normal exposure, drop that over the top a z, another layer, and it just must get out on my scout. Those areas you could get rid of those I'm so halos is definitely the number one, you know. You know, deadly sin of a city are the second one would be oversaturation of colors, and in the third one is losing contrast. Like you've opened up the shadows, so much of over the highlight, so much there's, no contrast an image anymore. The whites look milky and the blacks look muddy, and the photo just doesn't have any strength. So that's three.

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