HDR in Photoshop

Lesson 9 of 10

Different Tone Mapping Techniques

 

HDR in Photoshop

Lesson 9 of 10

Different Tone Mapping Techniques

 

Lesson Info

Different Tone Mapping Techniques

Let's jump in a little bit more and look at some other things here so here we are inside of the light room and as you can see, we get a whole bunch of images here that I have bracketed and what we're gonna do is we're gonna merge something together but the first one I'm gonna do is I'm going to find this one of believe it or not chicago and you know I could search by using the text here and I just put in a word chicago and that would mean I was actually using my metadata which look I use my metadata I know a lot of people don't that's what keywords afore and metadata if you leave it till the end it gets very hard but if you kind of and them as you go it will actually help you find things so what I'm gonna do is I'm going to take these three together and I'm going to show you something really interesting how to do the hdr inside of library so here we are in light room right now I'm gonna have to send these out two photos off so I'm gonna choose edit and photoshopped estacio pro and I sa...

id that cheek because as I said before there's no non perversion of it s okay, we're right now we're just gonna merge these together into a thirty two bit file and once we've done that we're just going to save it out is a thirty two bit file, which is going to be in hdr and I'm going to save it out as a tiff. And, uh, as I mentioned before, library can read a tiff, but it cannot read a psd as faras the thirty two bit file a nickel can remove goes just in case is any de ghosting in there any ghosting in there? I'm de ghosting opening in thirty two bit click okay, and almost there takes a little while because he's a full size roll thousand dollars plus two minus two zero so let's just quickly talk about the three steps of creating an issue. One is shooting, number two is merging and number three is turned napping, so technically, only the first two steps get you hdr and in the third step is taking the hdr and making it usable so still part of the work flow, so I'm just going to choose file, save as and I'm just going to save this city too, but file unaided tio to the desktop and I'll just call it uh, she w so if you can figure out what that means and I know what she w means, water that's good, I always use abbreviations because I'm really bad at typing, believe it or not, britain, nineteen books and I still hunting pick can you believe that? I probably could have written thirty books if I'd learned how to touch type s so let's have a look away work drive the the distance I always love about using unfamiliar computers I'm trying to find where that this top would be and I guess it would be there look at that and I just chills the, uh, check these I could have clicked check on tickle and I'm just sorry I said that, which would be easier okay, so here we go, we've got a file there and I'm just going to import this right now, so I'm gonna click import and where is it? Easy to find you just got from the recent imports if it doesn't show up there, which there it is previous importance. So now I'm going to click the develop module and here I am inside the developed module right now in life room and I'm just going to collapse that side out there a little bit just put down, get it out of my way and we'll pop that up because right now I just want to look at the picture so he is the image that we have now imported now one of the things I usually do, which I didn't do this time before responding as I do the white balance but doesn't matter I can do the white balance here just is easily I'm just going to click my white balance toe and I'm gonna click on an area here that should be neutral gray or white and so I could try that selection if I click there well that looks pretty horrible so let's not do that let's go and try this one and it's just a little process I sometimes have to click around a couple of times because the area then maybe it wasn't what maybe it was yellow, which is why I made it look weird so we're just going to go here now we'll open up our exposure a little bit there we go and you can see that we've got a white balance and here's are just more or less and overall exposure so now all the tools that we have here inside of light room that we would use normally we can use right here to do the hdr time mapping so the ones that really matter is the white balance which you saw there I just grabbed that I drop it and just collect until I could find an area which looks good I like that overall there's a little bit of color there on the tree line now the reason that's different in the tree line is because it's a different type of light noticed the streetlights here a using at different whatever they use inside of lightbulbs on the streets, not quite sure what it is, but it's a it's, a warmer light than what the rest of the lights are, which is why we have different color temperature there, not to worry, because we can't get around that very easily. Um, so we've done the white balance, and it shows you and calvin, there is thirty five fifty come in, not that you really need to know that once again, the reason that I don't care about custom white balance is because it's very easy to fix, especially when you're working from roll files or you're working a thirty two bit file it's not a big deal, the colors are in their, so the next thing we want to do is we said, our overall exposure, which we've done a contrast, were going to come back, to contrast gives it a flavor is kind of like a flavor slider, and I always leave the flavor last, so if I'm making ice cream, you know, I'm going to make the ice cream work, and then I'll make it strawberry, lebanon or whatever, so highlight in shadows, these air shadow highlight recovery like him photo shop I was hoping to cover that little bit more today, but I don't I think we have time we do will go back to the highlights and shadows and photo shop but basically what it does is this recovers detail on the highlights see that and this one he will open up the shadows so if you look on the history graham here normally you know, when we were working in the levels we were pulling these things in but we couldn't go there outside shadow highlight is actually extending these, so if you look in the highlight their notices a moving that history graham notice how the history graham goes in and actually recovers detail and shed our highlight incidently and I could do the same thing in the shadows they came into photoshopped a little while ago has its birth inside of e r so some of these other standard tools that aaron they actually came from some of the time mapping tools used in hd are just no charge for that. So the shadows and whites and blacks we just sit out why point here so we can see that we can said that just to kind of give it a little bit more luster black point we kind of do that we wanna you know, just have a little more shadow in there a little bit more death and body to the image clarity if we turn off clarity here notice the clarity gives the illusion of sharpness on clarity also is another one of these tools that kind of is sort of a pseudo tone map even though this is a normal images because clarity adjusted a midterm contrast so you'll see that some of the stuff that we get from gamma you actually see what happened inside of the clarity so we can turn that up a little bit and vibrates and situation we already covered that. So this is where you know, we've got something pretty good here and as I said, you know, we can use contrast if we got up the contrast, it makes it really punchy you get a low contrast shows a lot more detailed and more natural looking, but if you're not careful it can also give very washed out someone's pull it backed about theirs we showing a good amount of detail now one of the things you may have noticed that I have here is brighter than down here, so why don't we pull the exposure down a little bit and just get it? Just how we want it for the boats or we could go all the way down to get the buildings right and notice what happens now the boats into dark see that so this is the compromise here we go up here get the boats right, which is I think would be a good spot and then I'm going to grab a local adjustment toll here see this little brush so if you click on this brush here, this is going to enable us teo do our own adjustment so I'm actually going to take the exposure down a little bit and I'm going to turn on the mosque so you can see it. I can choose here show select a mask over late now that's what I'm doing here is working in my room five also will work in library for I'm going to increase the size of my brush just by hitting the bracket key there you can see on the screen and I can click and drag and what I'm saying right now is the mosque so you see that mask is looking kind of crazy but if I turn the mask off and we actually roll over here you'll see that's the area I selected and so if we want to look at it before and after we were gone so far there you can see what made quite a difference so this area that we added this mascot that I painted here I can adjust this region independently let me just go over there good a little bit more on the bottom so what's this when we do the exposure this is where it was now we could bring it down and we can adjust that part independently see that so this is this is nice and need I remind you was still working in thirty two but space so we can go down there and get that so we've been able to balance that out quite a bit now when we're done with this localized adjustment if we feel like the whole image we just click here it will hide that tab is too dark we can't just open up the explosion noticed the whole image works together so whatever goes on the mask goes over the top of the original adjustments so just just bear that in mind when you're making those adjustments now the only other thing that I'm not liking about this it doesn't look bad on the screen there is down in this tree line here remember I told you we had a different color so we can grab outbursts will again make sure it's on you if you click that one near that will edit the existing one see that sounds great but we want to make sure we choose knew or knew and I'm going to drop the size of my brush down a little bit here and what I'm going to do is a feathering is pretty high I mean go down here you can adjust it here the size of the feather the feather just gives you softness on the edges and the size there will increase the overall size so you'll see the two circles the second circle there out of ring shows the exact size of the brush and in between two areas is where there's feathered inside the middle circle is where it's solid so so we could just can't drop that down a little bit. Drop the size down now, there's other things we can do in here, you know, the flow and the density. If we turned that on, then we can actually start to build up and gradually paint in our adjustments by using density, keeping a low density, and each time we apply it, we can, you know, make a bright why should the flow will do that? And in a density will actually a cz we keep applying and adding new adjustments we can start to build those are on top of each other. So the other thing that we can do here is we can change the color temperature so I don't get take a temperature, turn it down a little bit, doubleclick keep the exposure the same, and now I'm also going to turn an order masking which here order masking will attempt to detecting edges. And so what I'm going to do now is I'm just going to start in here, just pan across here changing the color temperature of this tree line so there's two tree lines there, there's one on that side and as one on this side, and I'm not even worried about going over the other stuff because the order master is a pretty good job and we can go down here and change the color temperature and drop well, not that one. It's too easy, let's. Make sure we get the one on the adjustment. Bush appeared, take the temperature down a little bit too much and just blended in there nicely. And it's looking pretty good. I feel like the overall image right now, there's still a little bit too bright, so we're gonna bring it down a little bit, maybe increase the contrast slightly and you know, and there we go that's before and the after so you can see that substantially better and it's, you know, you can see I went a little bit over the lines, but obviously, you know, I'm just trying to illustrate the technique. I don't wantto make you sit there while I am just slowly painting and what I should've done to his use my pen tablet. And if you go over the ages, in fact, if you worry about that, just why not? Since we're here, let me show you this was my second point is hiding there. If you're worried about that, you had the option key and you can actually just go in here and I've seen people do it and we can actually clean up those age is not a city you're worried about her, but I am perfectionist way so now we fixed it so so that's, you know, doing tone mapping inside of light room and so right right now we have a thirty two bit file if we wanted we could take this city to file over into photo shop just in case I was gonna ask if I could I can choose to edit this and photo shop cc and I can idiot in it a copy with light room adjustments, I can edit a copy or did the original the original is actually going to throw away all the light room adjustments and I'm not going to see any of those this one is going to edit it here with the library adjustments, and I'm actually hoping I'm not sure because usually I don't do it this way I'm hoping it keeps it in thirty two bit space, so let's let's see no, it doesn't, so I'd have to do the original if I wanted to do in thirty two good space, if I wanted to go into photo shop and keep it in thirty two bit and keep working in there, I would I have to issue if I open it is a smart object that would do the job so or I could just go to my adjustment cs let's get back and I'm actually gonna open this. Isa smiled object. I was curious. Uh, see what that would do? So it's going to hear photo editor in photo shop and it should be an option. Open is a smart object on photo shop. Okay, so this one here or now maintain its thirty two business so and it also gives you the ability to go back and at any time and change those update and change those light room just adjustments as well. Yes. So this is what will happen is because it's a smart object right now, it's not showing his thirty two bit it's showing a sixteen bit, but it is a thirty two bit file inside that smart object. So whenever I say this is kind of update inside of a library, but the other thing, what we do is at this point here what I do is usually, once I bring something into photos off at this point to do finishing touches, I don't usually go backto library when you can, just by simply saving the file, but what I can do is at this point, if you double click, it'll open up the camera raw because all the adjustments that we made in light room have now made their way over the camera and a way to prove that is by clicking on the adjustment blair brush noticed the adjustments is still here so everything that we did inside of light room it has carried through and there's one of the nice things about life room and camera roy's they share exactly the same processing engine so everything we did in light room here is there and we could reset that or we could just tweak it whatever we want and just click okay to anil update what it was on here hit saving it'll updated in library so we could get a round trip between the two programs but then the cool thing about having it here now that I've got this is I can do other things to it you know I've got I can apply adjustments to it if I want to do um oh, I don't know what we want to dio let's do something really let's do something different like a cheese black and white and I'm going to go here and I'm just going toe change these tones notice it recognizes the times even those in a smart object so what I'm doing is when I'm going over here by clicking this little finger thing what it's doing is it's actually recognizing the underlying colors and notice how it's changing the darkness or the bright in the areas that are red, yellow, green, you know these different colors so it's recognizing nose and rather, you know we could with the slide is like this if we wanted and so is looking at the underlying colors here and we can preserve detail started, I just mapped the black and white how we want to see the blues there, and it allows us to do that. Or you can just click the little finger thing in drag and you get interesting result. Now, the reason I'm doing this is because I thought it was just kind of fun just for creative effect just to show, you know, how we can work with this. They don't think we could do is we could merge these two lawyers to get us. I could take my passage down and just have a very you know, we could go to the original or just have a very painting was hand colored looking so we can kind of mix the, you know, the black and white adjustment layer with that it's not destructive. The other thing we can do is we can duplicate our lawyer there. Let me turn it off. And if I decide to go and say overlay just to show you, we now have these, you know, this is working too smart object and if I decide to add the second blurred I can choose full to blur and what it's doing right now is just blurring the smart object and is preserving everything on the side of what I'll do is when I'm done with this as I'll explain what's might object is um just tow kind of say so we can kind of just go in here and get a little bit more interesting look at a little bit maybe suck some of the color up you know he go the way down here, we'll get that just kind of makes and then we just get some you know, some interesting effects there as we go into different bland modes we you know, we could do different things and so all I'm really doing is saying right now we have a thirty two bit file right there inside a smart object which is linked to camera roy and is linked to light room but notice what we could do creatively here inside of photo shop we can still create a latte layers weaken do allow adjustment layers all of these are available you know we could do at curves, you know, start to just play around with these photographs and do different things and this is completely non destructive we've got all these filters available, you know, not all of them obviously but this is quite a few um and in at that point there you know you can kind of have that creative creative things so there's a kind of flexibility you can get working with photo shop and these and of course you do masks which is always fun for the black and white to visit is always a fun effect here to turn the black and white up let me grab a black pan here um and maybe I just wanted to I'm not going to try and do anything too fancy here I'm just going to get a bigger breast size here when you read this saw fresh where's the sub precious girl uh well, just make yourself brush and you know at this point here like it's like a bigger sure what's happening here well that's um really unusual things that you know why that's not a brush that's a pencil then he will do it every time it's not a brush. This is a brash wanted why that was says grab its soft one and we can increase the size and it's gonna look a lot better that we go on now we could you know, I don't want to get up there exactly, you know, we could just get out here and start selectively paint in a color yeah, you know, I don't do these kind of kind of things, you know, creative creativeness so at this point is what kind of let your imagination run wild kind of doing things so that was just kind of a little bit of a workflow working between photoshopped and light room and really that was if nothing else when I was really trying to demonstrate here I wasn't really trying to create a you know, an award winning piece of art what I want to do is just get your mind kind of just freed up so you can see you know what you could do with the different things there that was solid sorry that was solid I'm thinking that people have been talking all day about doing those masts and then adjusting each photo individually and using those maths so that was that was perfect do you use a lot of that in your work flow so post photo matics masking of the duel images yeah that's a good question depends what I'm doing what I'm working with people which I'll do something right now I tend to do that a lot when I'm working with people when I'm doing you know landscape a lot of the sometimes we'll tweak the landscape a little bit but a lot of time when I'm doing land say cityscape stuff like that I'll just turn map it and leave it pretty pretty natural right but then when I'm working with people I will do that so let me show you something that I'm going to do with the people what we got here I'm going to just merge these together um we're getting there I'm just trying to find the right image is toe I want to work with here we go so I'm going to do it I'll take these ones here of ah love lena okay I just know I've got something else in here andi I was doing something weird that's what I'm doing here we go okay? I was looking for the file name since I just want to make sure that I'm working on the role of files and you'll see down here when I select them there's the name so I've got royal one that's a tiff that's when I want to skip that's the royal and that when they should be right there we go okay because what happened is I've worked with these before so I've got a couple of tips in there and I just wanted to make sure is moving just a royal ones and not the not the tips that is there a regular exposure theirs are over exposing his are under exposed so that's a sequence so now we're going to go under the edit in merge to hdr pro and photo shop we're gonna merge these together and it's gonna take a little second for this to pop open so what we're gonna do is we're gonna merge these photos together and hopefully these air there's a good ones and we're gonna do some tongue mapping and we're gonna go pretty grungy on this just for something different. What we'll do is we'll mix this with some automatics, and then I'm going to show you how to restore the skin tones on on your model so she looks beautiful, like like she should. All right, so we're gonna go here. We're gonna remove the ghost ists and just clean that up a little bit. Um, so I'm going to choose the zero as thie ghosting tool, and I'll tell you why? Because I've got this one here notice something here, say here's my light up here notice she's dark there because I didn't fire, but if you look at it here notice your face is open and you can see that that fired there, we've got over exposure, I guess it fired there too, but it doesn't matter because we're not gonna worry about that one, but the important thing is that this one didn't. So so what we want to do is I'm sitting this is the de ghosting image is the zero one and the reason I'm doing it because I'm going to replace that with that same image, which is the first one, so take technically, I should have only allowed this one to fire on the flash, um, but the other one did too but it doesn't matter because it's as I say it was the over exposed image so so we're just gonna click okay? We're gonna move these together and one of the things you're going to get used to working in a stair is dialog boxes progress bar's you partners bars I agree I don't count sheep I count pixel cem fergus most way we are we are inside a space now what are we going to do? The thing I like to do a lot I think you guys have got it now we're going to go to the thirty two bit preview options like that they were definitely off zero and one scene like I told you there's those go off all the time so that's a really trap if you're not careful because not that it really matters when you're in the thirty two bit space but if you adjusted in thirty and thirty two and in knock it back to an aid or sixteen and your preview not wrong suddenly your image is going to look too bright too dark like remember the beginning of the day that one image was too bright because I didn't check that view you've just constantly going to keep your eye on that because that can shift okay, so what we going to do now is I'm gonna do a little time mapping here and I'm going to use the phantom attics and we're going to pop this open here. Got some of my presets here, let me see if I've got something and I like your collins severe. Let me go severe in this one that's a good start and, you know, we're just going to play around this a little bit and what I'm worried about right now. What? I'm really he has this background and the ground here. Not too much worried about her right now or the way I am worried about her outfit a little bit, but not to us, right about his skin. His skin is not looking good right now. That's ok? And let's have a look at our color temperature. Get out here. We can play around that, maybe warm it up a little bit. Well, we could call it down. You can see we have a complaint different. Look, um, and of course, the light here you can see is coming from the headlights on the car, which is a different color temperature. The's a white bell. They're like balance just like what I've got up here. And my stub you can see here is much warmer because it's using the ambient light from the overhead lights in the garage, so we got a real mix light situation here. We could, you know, mask these areas out if we wanted to balance the light, but I don't really care about that I think it's kind of cool that adds to the effects of what I'm going to do is I'm gonna warm it up a little bit so what I'm trying to do right now is just equalize the light here a little bit just kind of balance that out so it's not so blue and let this be warm because I think it's great because that adds just a little bit more flavor a little more depth and just interested the photograph so if we look at this and then I'm just gonna hit okay? Because they can't see the button hopefully that'll apply it and uh there we go beautiful looking good. So now I have a couple of options I can continue to do my adjustments and retouching right here inside of the thirty two bit space yeah inside of the thirty two bit space or if I want, I can go into, you know, photo shop and just start to doom I'm asking in there so because you know the nature of some of the work I'm going to do let's just fun now just for grins and giggles let's stay inside this thirty two bit space for now, so I'm going to go into my light room here I'm going to find an image I want to work with which is it this one and the reason that this is the zero exposure on there plus and minus zero e v this is the uh just the neutral and I'm just gonna open this and find her there this is a profile there you can see completely adjusted and I'm going to take this and dragon drop and I'm just gonna hold down the shift key and hopefully this is going to position it in the middle I say hopefully change the size of it and you know what this is kind of a weird thing that's been happening and I'll tell you why it's doing this because right now photoshopped has bean optimized for um what you call it right now I'm just I'm just applying this right now so what happens is photoshopped is optimized for rent a better camera is not so because of the retina display it makes everything two hundred percent so so what so what it does is it actually that's why it's creating this this thing where it's where it's off right now just let those worth mentioning s so what we can do is you get to have a little listen here in compositing I'm going to go in a difference mode and I'm going to increase the size of this so typically speaking you don't get the problem with that now he is what difference mode is for for those of you who thought it was a filter it's not different smote enables you to a lineup objects perfectly so let me zoom into this thing here and we can see it um because if you look at this here and I you know, because I've seen you know what I used to do is I'm going normal and I dropped the past city down a little bit and then I'd maybe around and try and line it up you ever tried to do that you're guilty right about a million times and it's impossible I mean it's not possible it is very difficult so if you get a different smote here and then you zoom right up on here and then you hit the you know the arrow key here you can nudge it you can see when it gets perfectly lined up see how you can start to see those features lineup on and then when you get it perfectly, which is quite difficult to do right now um but when it does, you can see that that perfectly matches now when I'm not working in a thirty two bit mode the background when I put these over the top of each other in layers normally is just going to show black so when the two line out perfectly is just going to go completely black and so that's where that's what different smokers for so if we turn it on and off, you can see we've got a little bit of a shift there, but if I was teo tweak it a little bit more, you know? Yeah, you can elaborate a little bit more white came in at a different size, ok, was I not supposed to do that? Yeah, on dh didn't do that before, and the reason it did that is because with it, I'm just gonna line these up the and this this is my theory, of course, I mean, I don't know if this is right, but it's kind of makes sense to me. How do we go sing it with the retina? With photos up going toe right now, what happens is to support right now when you go to that, what it does is it actually halves this, so when you see it on a rent and display, it looks at fifty percent off the size, so to look at it one hundred percent size on a retina, you have to display their two hundred percent oh, god, to show it as what size would appear in a way, but otherwise it looks half half size, so I'm guessing they're part of this is optimized for britain, and the other part hasn't bean updated for written again. And so I would hazard a guess which you know, I love to experiment and I shouldn't experiment live in front of people, but I would have guessed when I bought that and if I'd just gone and resize it by exactly one hundred percent larger, you know, two hundred percent and doubled the size of it would have fitted existed exactly got so but anyway, having said that, you know, we've done it here in a difference mode and I think we're pretty good yeah it's a little tweaking, but it was pretty close it's close enough close enough to record more all right? Because they say so what I'm going to do is I'm just going to add a mosque now he is a trap that people fall into I'm gonna show you the way that is just you shouldn't do it is create a mosque and then filled with black toe hide the background everyone does that right? So it's no big deal but then what happens is this is a really important gotcha that will that will help anybody when you do that. What you have done is you've taken the viewable area of that mosque and you've made a black you have not made a black mask, the mask is an infinitely sized piece of information that sits above a layer and all I've done is I've taken the area that I can see right now and I've just made it black so what happens if I move the moscow later or I increased the size of the photograph then noticed that the black money it only goes to those edges so you can see they get problems? Have you ever done that when you enlarge a photograph later on any sunny start to see these little lines in there because that was because of the mosque so what you do is don't do it that way hold down the option key and create a black mask now if I'm linked this mosque I could move it around like this and there's no ages because now there's an infinitely black musk so if you have a white mask already and you want to do that don't feel it just hit command I or control ifa invert and turn the white mask into a black mask seems like a small thing but once you you know had the problems of that a few times you'll suddenly find out oh yeah that's a good idea so when we zoom in here she looks like she has bean consumed part way to becoming a zombie and you know the white balance is not going to match these two others that we probably have to tweak that a little bit so what we want to do is fix it so the reason I dragged the other photograph on top is so I can um tweet this I'm just going to drop that down a little bit and see what we got proud mask there is beautiful and so now I want to paint with white because the way lay a mask works is notice right now, it's black and as you saw it when we had the white mosque, everything on that label was shot. When we tend to mice black, it hides the contents of that letter shows the contents underneath, so therefore black hides and white shows, so we don't have to do the homos weaken grab out brush here and we begin to paint now, but before I do begin to paint, I want to go into the burst settings, and the reason I'm doing this is because I'm using pressure sensitive tabl amusing, a welcome tablet here, and I want to make sure that my precious sensitivity here is not sit the size of a tennis eyes off, and I want to make sure that it's set a transfer and that means the capacity is now going to be affected by my pan pressure on the tablet and not the side, because I don't want the strokes getting bigger and smaller. I just want him getting more dark so I can paint just gently like you would, you know, drawer like you would for pencil and build up the adjustment so I can just blended and much smoother if you've got hostages or you're going one hundred percent capacity all the time, the engines aren't going to blend, they gonna look rough. Now, the other way you can do is you can turn these options on enough here, so if we do the size notice that shape turns on and off. But caveat, if you've got something selected in here doing this does nothing. So what we want to do is make sure we tend a transfer off there and then we can turn the pan pressure on enough from here because otherwise it's stuck on there the whole time, so I'm gonna turn the pin pressure on capacity, and now I'm just going to gently paint on the mosque and I'm gonna paint her real face back in s so now we have ah, really face and we could do the same thing for arm and you might get a little shifting notices shifting a little bit, but once I blamed us and you don't even notice, see that and also, you know, if I had aligned it perfectly wouldn't get that, but you can kind of see this. We just kind of painting that in there and, you know, the other part that's gonna look probably really batters their legs, you look at that well so we can just go in here, we can just gently paint out that and paid her real skin back and see now we got a nice smooth skin towns on duh, you know, maybe even her outfit here, I'm just very gently painting into her outfit, and so what I'm doing is I'm blending her existing outfit into other that doesn't look good because we've got the let me I could paint it that way because I don't have a perfectly alliance because that see the ghosting units, he could paint it back out like that, or I could go to the black first and painting the hdr version of the address if you want. And I honestly don't have a problem hdr in people's clothes because, you know, if you look up here for example, with the fur, you can see detail in there if I was to, um, you know, just painted right in here, hide the master, hid the shift key and select on a mask that is a lot of the details blown out there, but by including hdr version it's showing it now had I done a better job of alignment, we'd get a better result, and I could just kind of sit there with the this and paint, so now what I could do for the alignment let me just show you some I don't know if it works of a smart object so what I would probably and I don't know if it works because we're in thirty two bit space um that could be a problem a ce faras what I'm trying to do for the alignment so what I would do normally is I would actually go under here and I would choose the order blend layers and I just don't think it's gonna work at the combination of god here um yeah it's gonna be great because we're in thirty two bit space so had you converted this first time up to convert it into a door, sixteen bit space and interrupt this on top, you wouldn't be having some of these problems, so this is the caveat I mean, you've got mohr flexibility, but you have to do things by hand had I done that, I could go in to order a line and it would perfectly have aligned damage. But having said that, if we didn't have the issue with the size dropping down, I would have just shifted and selected and I could probably open actually let's have a look here we could probably open this directly from live room into photo shop and and drag it over now I'm thinking about it, so where are you like minimized and you're talking about that nor the normalized image good not just the alignment because you know we've got some some issues of here's here's with the alignment that I wasn't expecting s o you know the other thing yeah just a normal it if I take that normal image and I just double click it it should open it might probably opening camera raw and that might be where the problem is with thumb isn't coming let's go back here and we're just gonna wanna get this photo editor and photos up wait don't open it here and we got it right here beautiful okay, so that's good so you know, we can probably get around issue just by dragging into here holding the shift key and really seeing um stood yep way go so there we go crisis averted how about that so I can actually take the mosque and dragon inside don't have to redo it all and I can hide it and now we've got perfect alignment so so then we gotta find a workaround so they say um what's the whole carry on and carry on and opening photo shop said now I can do what I wanted to dio um and what I'm gonna zoom in a little bit here getting a bit closer grab my brush with the beekeeper brush and now use my precious sensitivity and I can merge the two layers see that's and now I'm getting rid of some of the time mapping artifacts while allowing the detail to show through because I'm if I show you the mask of hid the option can click on the mask you can see that there's not white it's great cause I'm using a pressure sensitive tablet now if you don't have one of these then what you can do is you just turn the capacity down here on your on your mouse enjoy few mouse and just don't do it one hundred percent passing and just kind of build up but because we have a pressure sensitive tablet which will love we can do this and now I can start plaint and who address and noticing blending now combining the term map thirty two bit image with the regular photograph cool and that's really just to bring it back right to sort of really back in from where you have your adjustments exactly because if you look at it here I don't mind a backdrop looking grungy and tone mapped out and that's cool because I think it looks kind of neat you know when you're looking at the ground and stuff there has a and an interesting look but on a human being particularly attractive young woman you know it doesn't look good I mean you know if you look at her there's just that's that's horrible you know and they're just made and sent out a little bit so I'm so you know I'll do that a lot when it comes to working with that kind of effect and sometimes what I do here is because you know I could clean up the white balance on this it could even go back there and change the white balance on that one to balance out mohr or sometimes what I'll do is I'll actually just go on top here and create a a solid color so what I want to do is create a new adjustment layer here with a solid color and not just with a different thing because we're working was still in the thirty two bit mode and I'm just going to go into some green here or something like that changes to color blend mode if it leads me which it does and then bring it back down and then just start to you know not that much it's very very touchy when we're thirty two bit mood and just start to bring a little color in there and it just kind of starts to give it a interesting look and feel and also what it does is when you start to composite different parts together it pulls the colors together more because notice right now it's really hitting no shadows and it's just adding that green into the shadows there and what is this is this is pulling the whole of mist together so it's kind of interesting so now what I could do it if I wanted to get really crazy could take commodity murdered all together and then I could go back into the filter and I could go back into the time mapping again uh and do you know if I wanted? I'm just saying not saying necessarily once but that's going to nick just and add two together and see if this looks any good or not? So what we're doing right now is we've combined light room with photo shop and photo matics and now we're throwing a little a little twist of nick on here nice so let's see if nick is going to be nice to us so we can go back into our presets here and we're going to choose something realistic quick question so when it first opens up in nick yeah no adjustment it's really just the same photograph correct, I know it's actually what it did is it picked up the previous settings ok, ok, so um yeah, and so we can waken start off here we can go into some of these presets whatever I'm choosing the realistic ones but they're kind of not realistic enough force let's go under here and take these down this way. So now we should be reducing the effects of these reducing the method while still looking pretty weird turn compression well guess I'm riel weirdness going on here oh, what we got said is that the structures to her the situation is I don't like that so that okay um are we asking I'm not liking this nadal of your careless recently he's um we're just gonna look a little bit better actually just going to the uh, levels and curves is to mutual rgb so you can see now we're kind of start to get a little bit back to where we wanted to go and at this point here now we can start to play around and create a different let's go buy a cute the blacks and the whites and that we've got some crazy structure going on here too let's go back up yeah and you can see how we could start tio go for some kind of stylized looks here if we wanted um let me go here on dh compression you know back to about there so um you can kind of see I mean, I think I kind of like in the background but I'm not really liking what I'm seeing on the model so the good thing about that is we just don't like it just a castle so you know what? That was a nice experiment to necessarily life where it was going um and and just carry on so we could do other time mapping now but we can do photo shop so if we want to go to image mode and we want to drop this down to an eight bit then we could go back in here and we can go back into our local adaptations here in photo shops and now we're about to convert this through and uh we can just play around these so you know so sometimes you know the other things sometimes it works sometimes it doesn't when you try to double time map with uh with different time mapping tools but now we are double time mapping here using ah photo shop and standing quite good with this play around with it until we was playing up the shadows a little bit so you can see how we're really going for a very grungy effect now because I'm sure some people want to do you know so you can start to combine these let me bring the radius down a little bit and I'm gonna bring the strength up a little bit more just give it a little bit more punch and see how how was trying to get more of a stylized hd are kind of a field you know and when we don't we can click our k bring it all together and uh and once we're there there's other things we can do to weaken grab an adjustment layer here and we can do our scraps and curves so you take the curves and I'm just going to go down I'm just gonna really dark and all of this down and once again I'm just gonna invent it the mosque command I just to hide the mask and now I'm just gonna paint around the edges with my brush and just draw attention to the part of the photograph that is important so let's go up the brush increase the size of it here and then I'm just gonna paint around here and see what I'm doing I'm just kind of darkening down the rest of this photograph now just by asking and I'm drawing attention to starting down the car a little bit more and because I've got the capacity on the brush the hotter I paint them or I'm kind of painting it in and I could kind of paint around here a little bit increase that shadow and now you can see how we're just kind of blending the photograph in there and just kind of you know dodging and burning almost with uh an adjustment layer that's great and adjustment lay there is like complaining non destructive so I think you know what would what would do is we got time for I think we have time for one more in effect I think one more quickie quick question from dulcie before we move on if you if you if you work on images and see our first do you risk losing some of the range and the individual shots you mean before you emerge it tio no great no um a lot of a lot of the time I'll do that I didn't do it in this example actually what I what I do a lot of the time is I'll do my white balance and stuff right here in light room or camera first typically before I before I stick these together so what I'm going to do is I'm just going to go in here and let's find something else and I think you're gonna like this um so many images here that I had to work on and, uh, time just time gets away on you okay, I'm gonna show you something that's interesting um just want to make sure I picked the right images for this you must do this one this is kind of interesting we've got some cool texture and stuff going on here, so what I'm going to do is I'm going emerges together and I'm going to show you how to combine well actually you know what? I think I'll get a better one now I'm going to say how to combine different tone wrappings together to create a really could be realistic was so realistic this is again we are very, very useful tool for you to use an effect I think maybe something a little bit more stuff going on like this one here will be good and we're just going to go into here and I'm going to merge us together into each tr and uh you'll like this unfortunate was going to do day for night that I can talk about that, you know, when you take a shot of the day time you want to make it look like night, it just works so well in hdr because you've got so much dynamic range s so then I'm not sure what I do when I do that take the photograph and then when I tone map it, see what goes something like really funky ghosting going on in here, eh? So what I'll do is when I turn map that see what happens here sometimes you get like this blurriness and, um sometimes you can fix it by dropping it down, dropping somebody exposures out because we got some camera shake on one of those see how I dropped that one out and I can kind of get rid of it. Yeah, and then you know what we are this is going to create one out of two images, which is perfect because this will show you this will show you some other things I forgot you can't reduce ghosts onto images, so we're good okay? So one of the images was just too shaky and to gloria's missing it up, so I just kicked it right out now we're just moving to which will work really well for and we're going to show you so anything you're saying so the day for night basically, what you can do is you take it, and then when you you told me that you can actually go in inside the thirty two bit space and let me show you here, we could create an adjustment layer, and if we do the, um exposure, what you do is you take the exposure, and then you just, like, really dropped down the exposure. You make it like super dark and in and here because of the dynamic range you've got in here, and I'm obviously, this is a nighttime shot, and turner just quickly combined two techniques and one sort of you paint the light, and you can pet in your life's tricks like that, and you could just, you know, not officially create the light very easily said, when you do this with a daytime shot, and then you just kind of give it a little bit of a blue tinge, and you painted on like that, you could take their daytime shot and make it look nice, just like that. So easy, what's works really well, but it wasn't what I was going to show him this, but I just wanted to add that is, if I did the technique, okay, so what we're gonna do here is we're going to go in what here and we want to do a couple of different time mapping things so one of the things that we can do is before we do anything is tuesday view and make sure we're looking at the zero one there one and then I'm gonna open up this other tool issued a history panel and one of the beautiful things about the history panels if I click on this little button here it creates a new document so now I've got two thirty two bear files together so they're identical so this one here I'm going to go and I'm going to turn map this one so I'm going to choose filter and I'm going to choose thie automatics time mapping quick and what I'm going to do is I'm just I'll just grab a pretty safe just to kind of show you something let's grab something here you know it's great the water you know it's a little grainy um we khun go down and we could do some markers smiting and shed light shutters for me that we gotta straighten that out why don't care about right now is the water and the bottom part of this so I'm just tweaking this to make that look good and oh yes you know it looks real silvery and it's really bringing out see that amazing reflection and shadow there together gorgeous love it not worried about up here looks horrible but that's okay not what I care about right now so what we're doing is we're got that beautiful now we're going to go to the second one when we're going to go back into the filter we're gonna choose the time mapping again let's go back to fightem attics or on issues nick for this one this time it will work when I combined two because I'm not trying to overturn that too so we're gonna go in here and so right now we're combining nick and automatics what we could do for automatics twice on nick twice or just do it all in for a show that doesn't really matter. Um so okay, so we're looking up here let me just find appreciate that works really quick let's do something artistic want the sky to look good in the buildings I don't like that one you know that one looks good good enough let's just hit enter just to show you that technique andi this is something that I do a lot I don't so much usually go between different software packages when I do it but cayenne would like to know what locations or subject matters compositions lend themselves best hr photography that is a fantastic question and really, you know, obviously it depends on the type of photography that despise you, but things that lend itself really wells is two things one of them is when you've got a lot of contrast in the scenes there's a lot of darks and lights in the scene you know sunrises sunsets stuff like that works really well because take traditionally you know you shoot you get the sky beautiful in the grounds old dark or you get the ground dark and this guy's right so that that is one that gives itself really well and three other one is something when you've got a lot of texture so you know building's architecture stuff like that look just amazing because because of the texture is there so you can tow map it and bring out the textures in those buildings and they just look amazing and you know like like landscapes cool you know, for people like some of the things I do with people as well as I'll create you know you've seen some of the backdrops have been working on as a creative landscape image or an architectural image hdr and name what I'll do is I'll just bring the person you know the model I just regularly and then just massacre out or him out and drop them in the background like I did earlier on in the day you have the girl at the union station so she wasn't a star she was shot in the studio and in the backdrop is asian there so it just adds a little extra little list or something okay so if a cz you remember what we did here is weak created two copies of this and thirty two bit we turn mapped the first one here and for automatics let me just zoom in a little bit so that way we got looks better and I cared about the bottom then I took another thirty to bed and I told him at that for the top which you know I don't know it's okay? Because I just wanted to show you the difference so what I can do now is create a mask here and then we can blend these two together and working them together so you stopped for mask here and he just grabbed the grady intell sit it foreground background black the white and make sure you have the foreground background and at this point here all we're doing is just dragging in here and now we're going to just blend we get that way, I'll go the other way they would go so now what we're doing is which is blending these two layers together see that cool and at that point there you can start to blame, you know, different hdr interpretations together. A lot of the time I'll do that with a certain areas that I want a tone map differently and typically, you know, I used the same term nothing for both get the same flavor because you can see here the different flavor from photo matics and nick um and in what I'll do is I'll expose one for certain area and another one for another area, and at that point, if you do want to mix them together, you know, you could just grab your black brush here and you can just not using the grady in, but using the brush here, we can just, you know, paint these other areas in and just see that just gently blend them together if you want to manually blamed different areas together, you see that so now we've got a mask here, and if we hide the most, you can see that's a top player, tenenoff bottom line, so we're just blending the two together so you could do that with a bunch, you know, you khun, and I'll do that. Sometimes I'll have three or four different areas that I only care about that one area I'm looking at the time mapping like, maybe here I'm just to get this little scene here, and I'll turn that bat and all time at the buildings, and I'll turn up the bridge and dragon and just start painting it. But, you know, you can spend a couple of hours on an image quite easily doing that's that's a little bit more than I want to get in detail here.

Class Description

Colin will teach you his wildly popular 3-step process to Extend the dynamic range of any photograph. Bring out detail in the shadows and highlights to make a photograph so real, it will pop off the screen. Learn how to shoot, merge and tone map using Photoshop, Lightroom, Photomatix and more. Make your photographs stand out from the crowd.


Software Used: Adobe Photoshop CC 14.0

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