HDR in Photoshop: Beyond the Basics

Lesson 3 of 4

HDR: Plugins and Presets

 

HDR in Photoshop: Beyond the Basics

Lesson 3 of 4

HDR: Plugins and Presets

 

Lesson Info

HDR: Plugins and Presets

So what we're going to do now is we're going to take this a step further and a couple of plug ins that I want to show now that we can extend even maur what we can do inside of hdr, so I'm going to grab this one here, where are you? And when I am looking forward, way only gonna okay, so I'm going to grab these three images right now, and this is actually it was a fun time, and I'm just going to movies together and now probably in a change like, sometimes I work from bridge, and sometimes I work from light room, but I think you get it works the same, right? And you can actually do this directly within photoshopped to if you want, you can actually selected going to the scripts tool, and I'll show you where this just in case bridge brakes on you, which of course it does. But you go into scripts, here's and automate, and then we can go to merge two hdr pro so you can do it directly from here, and you can browse, you can find your files, I'm as we'll show you. Why not the more of methods tha...

t area, right? Saying I love about photo shop is there's so many things you can do and when it comes to stuff like this is no right and no wrong way of doing it the right way is the way that you like to do it. And I'm a big fan of that of saying, you know what? I'll show you how it works, and I'll show you how I work, but you don't necessarily I don't want you to work the way I do. I want you to take what I'm teaching you and incorporate that into your work clothes so you can grow, because if you just keep running around in circles copping out of people that's all you're doing is running in circles where you want to do is be constantly ascending and in learning things and adding, don't replace what you know, add to what you know in that way you can ascend and also develop your own style at the same time, okay, no charge for that, all right, so most hdr pro and well, you can say, you know, great don't steal that's talk about talk about photo shop, cafe and just so so people are okay, what is showing? So I'm the founder of finish up cafe, and this is a photo shop cafe shirt and a slogan here is create don't steal I actually just started as a copywriter at the bottom of the page when I started first look like fifteen years ago it was just like craig don't steal and then everyone grabbed a hold of it so on my shirt here we have these angels and this is us you know, all of us here we have the inspired people the artist, the artisans and then down here is the dark people in the industry that have no creativity or original thought that just stealing copy that's not that's an inspiring pisses inspired this is us so says I say rather than copy if you read the book a zero one great bugged by the way it's not about copying what's been done before but create something you know that's that's so we're going to click ok and now we're merging exactly the same way you know we get exactly the same result but we're just using a different way of merging these photographs to get it and that can actually happen actually this saved me last year for chef world because I updated something and I didn't update something else and my photo shop scripts didn't load into bridge and I was teaching I think I don't know four hundred five hundred people in front of me and I couldn't find the menus inside a bridge they would go on and as I can I'm losing my mind I finally lost it and so then I was able to go in here into my hdr, but then afterwards, adobe engineer came up saying, wait for toby, I'm an engineer, and the reason that it didn't work is your stop scripts didn't go into birch, so it wasn't you, and I didn't want to say that in front of her, it was like I was your hand. So anyway, so here we go, we're gonna open these now is a thirty two bit file and now creating the file. This is the front that progress, bar's. What I used to do is I used to reduce these down a little j pigs and using for demos, but honestly, I would rather show the full integrity of the image because when you get the j pick, you don't get the full time, every grains you don't get the real things I want to show you the real thing, so I hope you don't mind the little extra poses. All right? So here we go. So we're gonna thirty two, but space right now and, uh, wants to go into camera wrong, and I'm just gonna hit cancel here, and then we got beautiful. So we get a thirty two bit thought now you could edit it on camera or camera rolling as you saw that if you're just going to filter camera roll, you can do that, and you can launch it here and do that. But what we're gonna do is I'm going to go down and we're going to start with nic this time we can do the nick hdr fx pro too, and there's a great little plug in kind of creates like I liked, you know, every plug in has its own kind of feel in flavor there's only two hdr plug ins, they used this one info dramatics, and we'll be showing automatics next. And I like this is kind of cold for certain things. I like it to me. It kind of has a little bit of a harry potter flavor to it. Um, people in nickel private kill me for saying that, but anyway, um, so let's have a look here. We're just going to go in and we got preset library. We're good all these process, so what I'm going to deserve just scroll down and I'm gonna start with a pre set. It looks close to what I want see that that's, no bad said, look here and this is usually how do I'll just start here yet? That's a good place to start kind of like that and then, you know, we can play around with some of the settings and he has said the term compression, you can play around that, so that makes it more stylistic, more realistic. I'm going to give this on a little and you push this one a little bit on a stylistic, but not too much, and I'm not going to get too carried away with it. I'm just going to a little bit here, a little exposure here, and I'm just going to take down those good down here, pull the situation back a little bit it's kind of cool and we're ready to go here is I'm just going to hit into and apply that looks like the enter button is actually missing because of the screen resolution, so I was hoping I'd hit the internet would work and it did ok, so here we are right now we're in a thirty two bit space right now and we have our are our image here, so this things we can do, you know why we're in a thirty two bit notice we've got? This is a smart filter and just a shameless plug tomorrow I have position tomorrow afternoon, I'll be teaching smart filters, so I'm not gonna talk about smart falters right now we'll save that for tomorrow but you know, there's all kinds of things we can use their adjustment layers in here if I want to do this, I can grab you know, if I want to grab my few saturation and maybe reduce the situation a little bit more notice I could start to play around with it in here there's other things we can do you know what if I want to shop in it I can do all this here inside the city t but space if I want so you're applying and shop mask um you know, we can do all this kind of stuff and have fun with it so it's kind of cool click ok? And now we're still working here we can mix and match, so now we're getting into the fun stuff, so now I can go in here and I can use camera roll on top of the neck plug in. So now we can use both of these together, which is cool because maybe I want to do something fun like, you know, use the radio filter or something here that's a little big I've had to come on can double click and makes it fit exactly and they're going to reset that and I'm gonna drop this down exposure just give a little bit of vignette kind of nice not too much make it a little boy and you know, we could play around with all that sittings here I'm going to go back in maybe give it a little bit of clarity, just a little touch and one of the things I love to do is take the saturation way down and he may be increased of vibrance it just kind of creates a nice kind of cool coloring effect to that and I'm going to click ok? And now we're applying it so here we are was still inside a thirty two bit space that we can do this kind of work and we can start to stack and different adjustments on top of each other and and I'm just going to keep this one simple for now and the next one will get deeper so I'm going to gov image, you kind of get the thing we're just going to keep going down the rabbit hole until everyone's lost and I'm lost and it doesn't work anymore and then we'll call it a day, so we're just going to go into the mode and we're going to go toe eight bit space here image, you know, it's kind of funny, you know, it is artists it's, that's a really different thing when when you're teaching, I mean, because when you're creating art like me, I get in my space and I turn my music on and I'm like pumping out my music and I just get lost in my little world, you know, it's, like the rest of the world, doesn't it's like a drug, it really is a drug, I think that's what drives us to create? You know, I call it the zone, and when you get in that zone, you're just there and you just that's, like, the best thing in the world is like a runner's high, but for artists and and when you're teaching us kind funny because you're sitting here talking like a lot of the time I probably actor for you or whatever it's called because I don't talk, I sit there in silence except for my music, and I'm just in my little world just creating and I don't like to talk, and I don't like people to talk to me, but here I am talking to people, so anyone who ever late is like it's, like when I'm creating its I don't disturb you, like in my office, my doors closed no one talk to me when I'm in that zone because I'm horrible when I'm in that something like this is like it's like an addiction you're like, you're like connecticut, you're like, well, yeah, because it's it's hard like, once you get out hard to get back in, you know so anyone so we're going back in a shia tony I don't want to change anything in here so I'm going to go back to explosion gamma again back to zero one and we're going to take it here so now we're you know we're gonna file it's kind of it is kind of cool it's interesting so we can do other things in post at this point here so one of the things I love to do is I like to take a black on white filter and not really necessarily using black and white but the thing I like about the black and white filter is I can choose how you want the different tones to work under here so I grab this little finger thing so you have to worry about all these sliders the slide is a useful toe watch I'm going to pull him up here but I never click these sliders because who knows I mean black and white who knows what it's supposed to be so you grab this and you could just kind of move these around and kind of sit you're toning see and you're setting the mood of the image and what I'm loving about this this is this is sitting my tone here without being distracted by the color so the reason I have this up you're gonna watch these because they go all the way and they look really blocking and horrible they start to look little gas leases sometimes you might just pull it back a little bit just to preserve the quality of the image and then I'll take this and I'll drop it down to color sari luminosity blend mode so then if you look at it, all I've done here haven't changed the color. All I've done is I've just changed the luminosity underneath kind of like what you would do with selective color bit a little different, I just feel like I have more control this way and also I like it when I'm working on those tones and I'm not distracted by the color, then I can focus on on the tones and really making image pop so that there's one way of doing it another way, I'll use this to is just a normal and then I'll just pull it all the way back, which we're doing right now and see that we've got the color image and now I'm just gonna take a little bit of this and bring it in, so what are essentially doing is I'm d saturating the image, but I'm kind of doing it on my own terms and there we go some kind of decision rather just pulling the color out, I'm able to kind of build something in the image all right? So that's kind of cool, so what about, you know we want to do something else on here, you know, like maybe I want to kind of do some dodging and burning, dodging and burnings also all right, so I want to just kind of light it up a little bit in here. So what I'm going to do now is I'm going to grab the doesn't burn by hitting me control key and clicking on the new, not control that I say controls every option in new layer and you might know this technique nondestructive dodging and burning so you have option, you bring up the new layer and then we're gonna change the blend may moto overlay and then click that option so the option for fifty percent gray will come and when I click ok, what it does is it just hides it, so we've created a layer with fifty percent grade in over labeling mode, you don't even need the fifty percent greater. Be honest if you're not using budging, dodging and burning towards if you just using the brush, but you do want to overlay blend mode and in this way what I can do is I can grab a brush here and I'm just going to grab a black brush a soft brush here and make sure it's a soft edge. And drop my pass ity down about thirty flow down pretty low if you're using a mouse, you definitely want to work for pretty low capacity and just build that up so I'm going for is just subtlety here and I'm just going to get around the edges and just maybe not that settle flows to low and we go and what I'm doing is I'm just kind of starting to shape that looks awful, you know way looks awful that's going to the brush panel here we're going to go into a window, bring out the best panel, so see these little options here for the a pass ity and for the size, if something is already on in a brush, which it is there for size, it will override that on that button won't do anything, so I've turned that off, so when you start to use a walk home and you find that things look skinny and where it is usually because one of these dynamics is on, you don't want now a lot of the time I would when I'm working, I will take the shape and I'll click that little walk there and what that will do is that will lock it, so no matter what brush I choose now will never turn that option on, but I don't do that when I'm teaching because I'll be teaching something else and something went working I'll forget I turned it off so it was getting kind of a just a little bit so now this is great and I can hit a pass ity and you can just kind of bland this anall well that now you just kind of shaping around the edges just tryingto draw the viewer's attention to the part of the photograph that matters so we're just kind of doing that just doing this quickly I want to spend too much time on it and that's awesome and now what I'm going to do is I'm going to do another layer and I was naughty normally I duplicate these layers because anyone for shadows wants the highlights I'm so I'm just going to fill this with fifty percent gray because I was wait go so now we've got a nice neutral one and I could get a nice light color here and it just kind of paying a little bit of light maybe coming in here said the sun's kind of coming through here all right now at this point he you know you could add colors to it and what I'll do is I'll show you how to add a color just to that one uh that one layer there without affecting anything else we're going to go in here and I'm just going to choose a mr hugh saturation and then what? I'm going to grab the little clipping button here say that button there what you see that little area can also hit the option can click on there and what we'll do is we'll fix that layer only and none of the other layers if I want to put just a little bit of color on there of course it didn't work the way I wanted it did it so well so let's get back here and that's because I didn't have a mosque there that's why I've done a mask it would work but that's ok I'm good I'm good with this because we can do that with that mosque so I'm just gonna hit this mosque and I'm just going to invert it and in grab a white brush and we could just paint that in here right now just give it a little touch of color then we go so it just kind of doing that just to kind of add a little just a touch and you could change that color now that you're in there you could go into the saturation you know you could get crazy with the change of color find somebody you like better I'm just going to leave it kind of a golden color a little bit's very very settled you almost don't notice it so all right put all of these together I know what if we want to sharpen this now this is a time when I wouldn't you know I want to get everything together into one layer and this time I'm not going to do a stamp visible or a composite layer, whatever you want to call it, you could do that and I used those a lot, but in this case I don't want to do that because I wanted flexibility to come back if I want to change them, so I'm going to select all these layers and I'm just going to right click andi it's like there's life again and make sure it be right but in here that we just do it here and we are going to control click on here, which is a right click and then we're going to choose convert to smart object so what is going to do is just gonna pop them all into a smart object and now I can sharpen I can do all the things I want to do, some just gonna choose filter sharpen and we're going to go down here and get hit the gun shop mosque and if this little bit of grit I really want this to be a little more gritty now, so pulitzer soul back and we're kind of in there all right? Cole, this is starting to look like what I like and you know, if we zoom in quite big and see the texture is looking really good look at that textures looking really nice and what's done and get something looks a little bit like art now this is why I didn't do stamp visible I'll tell you why now because I just suddenly realized we get this awesome artwork and lo and behold it was so distracted with the lighting and stuff that do this to trash cans in there those are not pretty I mean, I do know that if I go in here and I can create a new layer and I know that if I can use the patch tool and if I turned patch tool into content aware it will work with a smart object no destructively that he has a problem I grab this and drag it over up it's not empty whatever I'm doing seven rooms and content aware structure make sure sample layers tend on there we go and I'll go here but he has a problem right? Because we got have been yet it's not looking good so let me undo that. So the beautiful thing about working a smart object is aiken doubleclick I could go back into this later whenever I want this like aha there's the trash cans down there. Well, I know I can go in here and I can use just basic tools you know, like this just use a patch tool or we could use this clone stamped all we could do the content of where phil you know, so what good options now and I'm gonna turn off sample layer so I'm only sampling this layer now, so this vignette doesn't exist to this, so I'm just going to go over here, click it over there, you know? We get initial siegel that's fine, and, um, I'm gonna change the color that's the new thing is being changed here two color wrapped in a structured down this is a new option. It was introduced to the lost bill, the photo shop apart from the double bird seed that looks pretty good, people wouldn't even know. So I'm going to get back here. And yes, sometimes you labor oversight because you're looking at that spot and honestly or you got to do is you just gotta sell ity audience because a lot of the time dinner and see how it's supposed to look of course, in this case is looking completely bad. Here we go that's good, but go back there and we're just too just there a little bit, and then you could do in a couple of guys if you want someone is just getting here. And of course, if I was doing this a home without people watching me, I would get this much quicker, so you get the general idea right? So we're just going in here and we just kind of cleaning that up and I would do the other one but for the sake of time I'm not going to do that lost one I could use a client stands a million ways I could do that right now or should I just do the constant I'm going to do that just because someone is going to be a trial and be like dude he didn't like get their perfect okay, so we'll have a client's dental so he's a clone stamp and I'll make a little bit bigger yeah I'm just gonna grab an option key here grip that and you know, maybe a probably if I was being smarter here I probably would do this on a new layer and I just I just really don't want to get into spending and I was on this um but you know, grab it here yeah, I'm just getting worse and worse I do know how to use a client's them so just in case you were all right so we just did afternoon, okay? And then what I'm going to do is I'm just gonna close that and it's safe and the cool thing about that is now because we used that's smart object rather than using all those other things like that all the vignette, everything in the errol stays and comes back and we've climbed out those trash cans even I did a horrible job most people wouldn't even notice

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

Lessons

  1. HDR: Tone Mapping and Working with 32 Bit Files
  2. HDR: Merging Files and Color Adjustments

    Colin explains how many images it takes to make an image HDR and shows you how to stitch one together.

  3. HDR: Plugins and Presets
  4. HDR: Photomatix and Compositing

Reviews

Jeff McPheeters
 

Colin is an outstanding presenter and explains both the WHY as well as the HOW, and is able to present in an easy to understand demonstration some very helpful techniques and workflow ideas to aid in creating very natural and printable images designed to maximize the dynamic range of the scene. Highly recommended for anyone with the basic understanding of what it means to tone map an image or bracket of images. If you've wanted to find a way to do more naturally beautiful HDR processing, this is the place to begin.

user-1be56d
 

Totally awesome Videos, well worth the coin