HDR Workflow


HDR in Photoshop


Lesson Info

HDR Workflow

That's the basics of shooting it so just full disclosure here I shot this exact what I did here I saw this exact thing just a little bit before so we didn't have to try and transfer this over to the computer so I'm going to show you the shots that we got nothing to fancy just um put these on the desktop and we called this kiwi here and here's here's the three shots that we shot so if I pop these open you can see there's a little bit of movement it was handheld so I didn't cheat I didn't use a tripod when you weren't looking you can see this is one is over exposed by two stops and the reason we did that to bring out the detail here now one of the things you really gotta watch for his camera shake and if you're going to get camera sake this is the shot you're going to get it in the slowest exposure so typically speaking you know you look at what the slowest exposure's going toby and ask yourself can I hold this by hand at this sort of speed and if not then you have to use a tripod or som...

ething lean against the wall put on a break you know whatever you need to do to stabilize it so that we can see this detail here and his ther and stuff there which is great which is what we want you know, the flowers are completely blown out, so you can see if we were going to do one exposure. You know, it's actually pretty well exposed for the average of the kiwi here, except for the bright spots here. S o if we were going to just photograph this, this is what you would get in your one shot. You'd blow this out. Just a little side note what I'm looking at this, you know, because one of the questions, you know, people might be saying, well, wait, um, why don't you just use a film like because right now we created this scene to create some contrast on purpose so here's, another thing about hdr is you can actually use it when you've got uneven lighting to even up the lighting because, for example, there's three ways of getting evening up the lighting here. If you look at this shot right now, the one would be to bring a fill light in on the other side, the backside with the kiwi is and in drop my exposure value down and, you know, speed up my shutter speed, which would actually be really nice, because then I could hand hold it easier, and then it would create more even the other thing would be to defuse and not not just a fuse but actually reduce the amount of light coming from that other life so either flag it or put some kind of a light modifier in a so called something to reduce the amount of light and that would also even up the lighting in the scene so I could create that effect with light modifies but in this situation say for example you know we're looking at mountains or we're looking at a big building or something like that and we don't have the ability to modify it and we've got a high contrast seen like this this is where the bracketing comes in beautifully so we've got that and then let's look at the other shot here let me just good through the said that's just the average exposure and look at that with the zero no much is actually looking good zero at all you can see you know his beak is looking good his feet are looking really good the flowers on the side are ok but this side's still too hard on this side is too dark so you can see that there was too much dynamic range there to capture that one shot then we go to this one where we're shooting it for the highlights and see now at a plant a are flowers a nicely exposed and so in the leaves and stuff in this detail in there so these these will actually look quite good and you can see there are little kimmy guy there his feet are looking good, but everything else is gone. So there's the three shots that we've shot there there in roy. So this is the process let's, just talk about the whole let's just do the whole thing. I'm just going to race through the entire process right now and then we can go back into some of this in more detail. So we've selected the three photos right now remembered you could do this from white room, you could do it from photo shop, you could do it from anywhere it doesn't matter. So we're selecting the three photographs that's, the first step that we're doing here and actually let me just put this into the three steps of hdr, of creating an hd, our photograph that you can show to the public this three steps, one is shooting, number two is merging or combining the photographs together, and in the third one is tone deaf. So that's the three steps with covered the shooting. Now we're going to move into the combining part so we can go up under here, we can use the tools and we can get a photo shop and in one of the options we have here is most aged a pro, so it's just moved to a star I guess adobe just decided put the word pro near because it made it sound more professional but there is no hdr non pro, so right now photo shop is actually taking these three images these three raw files and he would go is combining it into one one exposure right here. So if we look at this, what it's done is a couple of things have happened here and we'll get into them in more detail on because I don't want to bug you down too much but what's happiness is created what is a thirty two big file? So these files that we moved the profiles of sixteen files with a between twelve fourteen bits of information and in what is done is this merged together into a thirty tube of a fifty two bit file, which is what we're looking at right now. So there's a thirty two bit file and so we've got these three photographs you can see down the bottom it goes under two and over by one point nice and that's over by two sometimes these numbers don't quite match, but it doesn't mean anything it doesn't doesn't matter most of the time they do manage sometimes they don't it's just that you know, sometimes photoshopped things slightly different and the camera does when it comes to that no big deal, so we've got these three shots there and they merge together so at this point we get to make some decisions we get to go to the third step if we want, which is tom mapping? So tone mapping is when we take all these thirty two bits of information and in jam it together into something that we can look at because if I go back here and I go up to thirty two bit, which is what I'm going to do now this is where we are we're in a thirty two bit space and if I move the slide and you can see what information is in this shot if it lets me this lighter, let me turn that option off and we go here see, this is a ll the information and it shot look at that you're not going to get all that information in side a single image or j peg, so we go all the way here this is all the detail there in the highlights, all the detail opened up in the shadows, so this is almost together. So what I'm doing, I'm not changing the brightness of the photograph right now. All I'm doing is viewing it because notice there's so much dynamic range that I can't look at all the dynamic range at once on my screen on my monitor a day will come when we working on hyde hdr monitors and we will be able to do that and you know, as I mentioned earlier on some of that stuff is starting to come out, you know, now it's still very much in the recession development process, but but right now, so we're just viewing it so it's not changing it, just viewing the image and at this point here what I usually do as I usually click okay? And the reason I do that is because I want to say what I call thirty two negatives so that way if I want to do different things with terms because time mapping is when you actually get to be really creative and you get to make it really surrealistically very natural and develop it so to speak so right now we're in the thirty two but space think of this is right now we're in n and negative and and negative is sitting in a pool of liquid right now and when developing and negative, so so I like to save it out as a thirty two bit negative and in that way I could open up that thirty two but file and play with it later. But what I'm going to do now just to show you the entire process is we're going to move down and we could tow map it so we can go into the sixteen or an ape it's space you need to generally go a bit if you want to print it and we can get out here, we can slide these sliders around to do some things we gonna play around different sliders later, we're not going to get to bug down on that right now and in the other option here is if I get a thirty two bit I'm going click on this. This is a new in a photo shop see, see what I'm saying you right now is that we can actually jump directly into camera raw now and do the tone, man, so if you have a light room, you could do exactly the same thing with light room, live room five dozen and in light room for whatever the latest update full point two I think they added it somewhere between four point two four point three I think which version but whatever version of library you have, if you have four or five you khun do thirty two, but I'm a jet waiting inside there and also do exactly the same thing as we're getting it on camera right now, so I'm going to do this. I'm going to choose tone and a cr. So what is time? We've moved these images together and now what we're doing is its building the thirty two bit file, so we're out of this little pool of liquid and we're about to move teo the equivalent of creating a print so that's where we are with the tone mapping which is coming up I really like the analogies, so here we go. I don't know if I mentioned that my father was a photographer and there's a kid I used to get in his dark room and, uh so remember those I've never had my own darkroom, but I was in my dad's and I remember the smell of those chemicals and the taste of them, which I shouldn't very well don't put everything animals is the love touring on the edges of those anyway, it's probably why I'm so crazy today could be so here I am I'm inside tomorrow, roy and right now think of this as a raw file on steroids what roy is tj pig is what hdr is to roy this is like way more than roy ever I wish that could be this is your son in his superman outfit on rolling, but now we're actually gonna go to the real superman, which is h g are on, and the reason it is superman is because it's actually holding all the highlight information, the mid tone information and the shadow information from all three photographs correct in this one file correct and the color information and color information and it's got tons to spare right now you just get to edit it in a cr exactly so here we are in a cr and one of the things you will see if the exposure is it goes away up to ten you should go all the way up to eleven just for jokes for the spinal tap fans but you know what your raw file to not do this look at that look at much dynamic range we've got in this shot so I'm just going to kind of bring it around the middle there I'm going to choose my highlight recovery spring that back to recover our highlights let's open up the shadows a little bit and you know we could just kind of play around for exposure to get where we want it let me drop white stand and we'll get we'll get more until the sliders and a little bit I just want to just kind of give you something here we can increase that and in um I'm not even gonna play with the other cities right now all I'm going to do is just use these settings just to get do just a really basic and I'm going to click okay and it's going to go ahead and is going to do that so now what we have here is we have our image here inside of photo shop were still inside of thirty two bit space because we we could do that but what I'm going to do is I'm going to convert this down so you can see ugo under image mode and I'm just gonna drop down to a pit and we could major those doesn't really matter and um the reason I'm going to do this I'm just going to convert this to a file that you could turn into jay pig you could put on the internet you can you know do whatever you want and you can see right now I just want teo um we used to get our camera roll filter working ok? Yeah that's cool. All right. Nice. So you can see how much information we've got there in that shot that kind of got a little weird on me though let me go back in here is gonna double click get back into my camera that's my planning options it's not opening people out there in the internet going this this is cool. Just be able t make those adjustments and then turn around and merge those photos and then then of course remake them back in photo shop. Yeah, it's definitely a lot of fun, so, you know, got kind of a little weird on me. I get to be honest, I got some shifts and stuff here I probably should have balanced these out one of later on she had a view when we can actually set our view options and we'll get back to that on a little bit so but anyway I just want to show you how much information we got here you can see you know, this is completely showing all this information here if we zoom in you can see the texture in here and you can even see that like the little speculative stuff like that but now what this should be doing which is not working quite right maybe I should just do it again is this is blind and I shouldn't be blowing out I'm just going to move these quickly again because something went array and when you're merging does it also lineup is her lineup feature? Yes there is and photoshopped actually is really smart when it does that is it well actually uses auto line technology when we're merging these and it will actually align the photograph so there wasa kind of a little bit of a shift in their cool because I was holding out my hand it's slightly moved but I'm the same in the order line uses for the panorama and all that stuff it uses that same technology here to align the different exposures and it's just doing it in the back engine automatically yes, great yeah and then we've got the ghost from evil, which is another subject that we'll get to in a little bit you know what probably missed enough is made because I changed my exposure here not not change the exposed, how is viewing it? So when I went into the I probably changed it, you know, because I had that brightened up there, that's, why I went way out on me. So make sure you reset that if you're going to go directly into camera, roy, but typically, I don't typically I go here, and I just opened a thirty two bit file and then let me just go in here and I'll show you what I mean, that's why I was too bright, so actually didn't have the right. I wasn't viewing it correctly when I edited it, so make sure you don't change that before you get ahead of it. It doesn't change the exposed to it changes what you're looking at. So you think you're getting it right, you know, right? And you and your and your taking samples while you takes you say, take samples along way just toe look at your info palette to see where those those highlights are in the shadows. Now you can generally just see that ijust ebola. Okay, you could so right now we've got a thirty two bit file here. Let me just show you hear, you usually see this little option that says thirty two bit exposure and see this little sliding here normally you always get the warning it touch it doesn't work works in theory too, but mode only that's what normally says down there but now you've got the slider, which is the same slider that we had before now generally you won't run into the problem that I ran into because, you know, usually moving this but what happens is if you do move it and sometimes it moves by itself you can go up to view and you're going to get choose your thirty two bit preview options there and in your thirty two but preview options if you set your exposure to zero u gamma tau one, you're going to get an accurate view that's what it is so you know we'll probably go back in into that sitting quite a few times throughout the day, especially when you start using their party time mapping plug ins because sometimes, you know, people who have done this and I go in and suddenly doesn't look right that's why? And is that preference per file that you open or is it is it a permanent setting in photo shop? Well, you have to check like once you merger you want to check each photograph photograph? Yeah, because that is looking at the exposure value that I'm viewing that particular federal graph and the reason it was that because I moved the slider at the bottom great so generally speaking if you don't move anything you don't have to you don't have to move that but it's always a good idea to check it anyway cool thank you so yeah because I'm you know, moving things around a lot more than I normally would just to kind of show your goods how this works so okay so now we have you know, let's go back to the time mapping against what we've got this is stage two here we we've moved in together and we want to get to state three which is tone mapping we can use the photo shop tools that that we saw before they're still visible on some of the ways to do that is if you want to go here is you just go under the mode and just get into the image mode and then with ugo saito eight or sixteen bit is gonna pop up and then you're going to see these same options they're going to be available as before and so you can turn that but there and at that point it will convert it when you've finished two and eight or sixteen but right now I'm going to do in camera roy like we did a minute ago and the good thing is we can use camera filter now this is new in a photo shop cc is filter camera roll filter now it doesn't mean well that's going to say yeah you can open a you know, the file in raw that you'd have to go through if it's not a small object here, you'd have to go through bridge in previous versions of photo shop, but you're not going to be out the tone map hdr inside earlier versions. So I'm just going to show this one just for now anyway, just to get a basic tone mapping so if you remember here we just play around with this, we're gonna bring our exposure back a little bit. Highlights open up our shadows a little bit, play around the exposure and, um, you know, I don't want to do too much, but I don't I don't want you to think that I'm tweaking this too much I want to just could bring the contrast back slightly just to preserve some detail there. We're not going to get two stylized I want to keep this just very, very natural looking and I'm gonna click okay it's gonna pop back in here now, here's the other thing if you turn map here inside of photo shop and you know how there's exposure value shit that you do, have a safeguard and ask when you edit it, when you go up into here and you go image mode and I turn into eight of sixteen bit, you're going to get this dialog box so you're not just going to go blind in there and under here you have exposure and gamma and make sure that citizen around one and now if you look at that that's going to preview and it has its unchanged from what I did I'm gonna click okay and I was going to convert to a neighbour find that looks much better than what we got before so you can see here you know if we resume in a little bit you know it's a little camera shake like this it is this is hand held which is you know gives you the idea that you can see the detail here and so these flowers see these flowers of fake you probably didn't know that now you do and at the same time if we look down here and let me just zoom in a little bit and we can see a little guy here and we got a pretty good exposure on so if we want to open up the other one let's go back in a birch here and we choose our average exposure which was this warm and we're going to just open this guy directly into photoshopped a z a c s is gonna open and camera so here we are in camera right now we could do some recovery in here and probably get a pretty good job of it so get back in the highlights you can recover some of that you can actually open up some of those shadow so you see there's a lot here in the royal pfaff you look at this see the raw file has got a lot of done emigres remember what I said there's a living stops a really good stops in here so most of that dynamic range is still in here but one of the things you'll notice is if using minimum this we get one hundred percent of you there's a lot more noise in some of these areas and particularly when we get into the shadows here let's get a little bit see how how much noises in there now so it's like yeah the information is there but I mean look how noise that's not really usable information it's really is incredibly noisy and you can see the camera shake there that was me and holding at one fifteenth of the second very difficult to do so if we just choose teo opening image so now I've done you know, similar adjustment inside of camera raw on the profile as I have on this guy so let's just go up under here and we're going to go under uh range here we're just gonna do two up and what we conduce is we can zoom in on this fellow and we can compare the two and you can see they're you know, that's the way it was not a star anymore, by the way once you turn, map it and convert it to sixteen or eight bit it's, not an hd our image anymore. It's a it's a you know, a door sixteen but tome apt from a hdr it's, only an hdr when it's still in thirty two bits one she converted, as I said it, it becomes a photograph, but look at how much more detail is available inside of the shadows in the highlights in the hdr image. Then it is in the regular image and that's, without getting fancy and doing, you know, trying to do any stylized tone mapping or anything like that. I mean, even look at the texture on the wood here, you can see the detail they have versus this look at the reflections versus that, you know, and and obviously in are the fairer and the ball and all that kind of stuff. So it is, and this and this is just a very and there's not a lot of dynamic range in this particular shot. So this is just a really simplified version imagine, you know, if you're doing this and you're shooting a building indoors and you've got the bright sunlight outside, you know, you've got the yard or whatever, and you can catch a ll that into the hdr, so so even with this one, where it just barely outside of what can be captured on a dynamic range of the sensor you can see, you know, just imaging quality is much, much better then what you would get and this is probably different approach and a lot of people used to face the ark you know, a lot of people probably expecting me to be doing grungy effects and stuff by now, and we will do that don't worry, we're going to get into the sexy side of it but you know to me this is more sexy because the think about the long term effects of this eventually everyone's going to be tired of the you know, the flicker google plus not know the people get sick of google plus it's great but you know the images that very prevalent there right now you know which I do sometimes too, you know grungy very overly toned map it's in right now it's hip it's cool, but one day people are gonna turn around and go oh yeah, that was the twenty ten you know, just like you look at something else the sixties look is the seventies like this is going to become a nostalgic look of the past the grunge look eventually people going to be moving on to something else and see me soon as you see that is going to date the image so that's another reason I say about thirty two, but negatives is I don't want today my images. I could go back to those thirty two, but files and return map from any time I want. I can make them look me. I could make him look grand ji if you just flatten them all down. Guess what? Oh, your photo collection is going to be outdated one day. And the other thing is, what about when I have thirty two bit monitors? So if you're looking at this right now, look at the amount of how much more natural this looks than that this just is yes, much, much higher quality. And you're still looking at it on, you know, on your screen, you know, sixteen biddle, whatever your monitor is, you know, maybe you have a deity that monitor, but you're still not seeing each other, not saying it. Thirty two, but space. But if you would look on a thirty two bit monitor and look a thirty two bit image versus looking at this, you know, it's, like going from a, you know, a bit, you know? Or even I remember when computers with two hundred fifty six colors remember before that, before there were two hundred fifty six colors and everything, look I did and then you would go to two hundred fifty six colors and you know it well turned fifty six calls a circle you know everything now looks like a cartoon and then you go the thirty two thousand colors and in all of a sudden the two hundred fifty six colors it does look like a cartoon so this is the next step so another reason to keep you were just city two bit the two bit negatives because one day maybe a year maybe two years maybe three maybe five years from now I doubt it will be five years I'd say probably in the next two three years we're going to be you know apple is going to be announcing their thirty two bit system and away we gol and I'm going to have these thirty two bit images and I'm going to be really happy I'm gonna be able to stop opening I'm working with them right away and official I think cameras I'm going to start shooting in thirty two bits which brings me to another thing you know like probably probably question about in cameras here on because I always get us that in cameras there this camera ten not shoot hd are and I know that's for controversial I just said that because that what do you mean there's a safety on mode there's a stylized where I can shoot well what this camera conducive can shoot the bracket and images and then when emerges them together into the hdr file that's, not an hd, are faster chip pick. So the camera tone maps the camera is not creating a thirty two both file. So this camera is not cheating in a star. So cannons watching and I come, I want to see any two bit camera. Please let me merge them into thirty to farm. It would take a while, but eventually the senses is going to get so good that the dynamic range is going to be just amazing on the cameras. And we're just going to be able to shoot on one exposure, you know, as technology gets there. I mean, even now, if you look at the amount of dynamic range in a raw file compared to what we were able to shoot a few years ago in a j peg or a tiff it's, you know, it's getting better and it's getting better, very fuss, like, you know, roy is catching up with hdr, and so eventually, you know, cameras will be shooting thirty two bit, and we won't even think about it will be bring him on here on a thirty two, but systems looking at them, watching them on in a thirty two, but tvs and and that's just gonna be life as we know it and told them move on to whatever the next thing is gonna be holographic technology or whatever. So anyway, having settled that I'm stronger got a bunch of questions I'd be happy to you know, we sure do and you know, I'm going to start with a kind of something that we've been hearing in the chat rooms can you please give us a definition of tone mapping, please? Yes actually we're going to get into a whole ton mapping section right now great on dh like right on a little bit but let me just give you in a nutshell tone mapping so we get these eight images right of sixteen been images that were shooting so we've got a ll these photographs that were shouldn't be a three b seventy nine whatever and then we jammed them all into that thirty two bit file. Okay, now this is like getting you because I love analogy so I'm going to give you an analogy we have five carloads of people in many show up so these five mini show up with you know, for five people jammed in each many and not big people small people and then those air our files those are shots our profiles on we want to get it together, but guess what? We need a bus so at buses at thirty two bit file that we create so give me a thirty two bit space guy can't get all these guys in a mini I mean, I've seen the you know, the students do you know how many people can you jam it in many like ten or twenty people you know? And then I end up breaking arms and you know, see any bus so you get all those people and then you put him in a bus and then all of a sudden you've got all these different types of people in a bus now, you know, one many had it was full of, uh, teenage boys the other was full of, uh, pregnant ladies you know, for pregnant ladies on and then they say the other many, you know, it was full of school teachers and then the other money was full of you know, I arrest people, you know, so jam a mall on a bus and now you've got a ll these different people in there and he is okay now I want to toem anthem, so that means I'm going to put them back into a mini because this bus is going to wheels someone jacked it and stole the tyres so we don't get him cross mix of culture, you know, across towns were like, well, we have to get back in the mini so what's the problem can't get he's sixty four people into this money so I tell you what I'm goingto hand pick exactly the schoolteacher I want I'm gonna handpick exactly the pregnant lady I want I'm gonna hand picked the gnarly skateboarder dude teenager because you know I live in california so I'm pan picking these and then I put them back into the mini and guess what I've got in my many I got the same size file a same size paris started with but now I have a representation of all the parts of that photograph that I wanted to keep kind of makes it so that's what time mapping is time mapping is when you're culling the herd really awesome and jim in virginia wanted to know if it's destructive toma p is disrupting is it destructive? Yes, absolutely yeah, because you're going from a container you know that has a ll this information you have, you know, essentially a limitless dynamic range and, you know color space call space doesn't matter at that point you're pro photo rgb, srg bea it doesn't matter because all of the color gamut is contained within the thirty two both file because it's also knows what's called a floating point forget a little technical for a second if you look at a typical image ng two hundred fifty six colors per channel, right? So when we look at that and we measure if you look at photoshopped zero two two fifty five it goes up to two fifty five because it starts zero so and that you got two hundred fifty six is two hundred fifty six possible tone's within each color channel right but then when you get floating point it's not restricted I mean it goes from zero to one one is white which is one hundred percent luminant zero is black zero illuminates and in everything else in between is floating point it makes more sense it's a decimal system you know sis metric I mean metric system here but not just that it goes beyond just that inside of there there's no two hundred fifty for two hundred fifty five which one do I sacrifice no a flooding point you can do turning fifty four point three point four so you have much more information inside that floating point thirty two bit space so it's it's that's a very very very powerful spice you know so it's like your negative so when you question isn't los e when you develop a negative into a print is that lost or is an artistic process it's not lost he is lying to keep the negative and you can make more prints but that print is going to be limited to the dynamic range I mean you can squeeze an extra stop put two of information when you're developing by over and under exposing film but once you create that print that's what that prentiss on that's what? You have chosen that print to look like? Did you wanna overexpose it? You want to ever expose it? You know, in the doctor. So the same thing with that file. Once you create that tone that file, you can still do a lot with it, you know, especially you do a sixteen, but you can still adjusted and do a lot more work to it afterwards. You know, we'll do some of that, but you have major artistic decisions when you converted that in your time mapped it doesn't make sense. Yeah, totally. Tony makes sense. Cool. So a couple questions and one we're gonna have you reiterate a little bit about what we talked about earlier roberto and sam cox similar questions. So the first one, why did you choose to stop and not three stop difference and what's special about tool to? Is there a rule for your to stop decision? And sam cox wants to know, is it always evenly spaced, like isn't always two into into into or might you adjust that? Is that there's a very good questions. So two stops is just what I found works well and experimenting, you know, three stops might work, but you run a risk of getting banding in between where the overlap is on but when I say banning is if you look at places like the sky's the grade ians and the skies and stuff like that if you go too far like I know some people say do one stop and some people and that's quite acceptable too if you choose to do you know one stuff some people do that because they say it reduces the banning personally with the technology I'm using today to stop seems to work really well in the past one stop on some certain situations that used one stuff but the quality of the sensor and the low noise on the camera musing right now it works really well too you probably could do three there's nothing stopping you doing three but you might as I say you know you might find that you start to get a little bit of banding there and your radiance and stuff s o that's the first part of the question and in the second question was can you change the amount you could there's no a rule saying you can't I have some photos that I accidentally did that when I was doing it by hand and I was lost count I wasn't counting threes and I went across a couple and they came out okay I would assume that keeping it even is probably better because you know just consistency is a good thing but you know if if it's not that's fine I mean I've had some photographs where I've taken two stops over and then another two stops and I'm going to a hundred and whoever and then I've pulled one or two out because it was just too much and it was actually causing chromatic aberration in stuff like that in the image so I mean yeah, you can I mean you've got a lot of a lot of leeway to work with and you know and honestly right now next year's amu was still making up the rules it's it's it's a new this's a new technology I mean, you know it's been around for you know, just over a decade I mean, it started in the film industry onda lot of films you see our pr on day three the industry is all the time for visual effects on being the last six years or so the photographers have really been starting to do it but you know what that's right? The rules that's come off what? You know that you know, we still got a lot of experimentation and that's, you know, see what works but generally as a rule I used two stops a newt the new dubai asks when we use speed lights can we use flash exposure bracketing to bracket thie hdr shots I guess you could okay cool and cg photography asks can you use the hist a gram to determine how many exposures you need to cover the dynamic range uh inside of the camera I'm thinking inside of the camera yes that's actually a good idea if you were like looking at a scene there and your history graham is nice and clean on both ends and you've captured the whole thing so yeah you could they don't have your your fancy chart well, you don't need the chart for the for the mystical right right now you mention it can I take a second and talk about history grams because there was something I think it would be important to talk about I would love if he did that thank you. I guess I neglected tio to do this one let's just do the expanded court on duh well, you know what I'm going to do after the break I'm going to re sit through cities all the settings on this computer is so different than what I'm used to it but anyway so what we've got here is if we're looking at the history graham so let's let's talk about his grand let me get to the expanded that is expanding get old channels view let's just pop this puppy wide open all right so this is and hissed a gram and it looks very much like the one in your camera and this was invented by dr hissed a gram actually, my dad but instagrams have been around for a long, long time, not just in fraternity when I don't look like that that will update it. So if you ever see that little mark here that will give you the latest instagram. So what this is doing is showing you the pixel information inside of the photograph. So right now we're selected this photo and let me grab this one here notice it changes and it's better there's no such thing as a perfect testing ground, by the way, each image that instagram is different, but the certain characteristics toe look for inside the history, and one of them is in the left hand side. This is our shadows. This is black on on the other side, this is white and in between imagine a scale going from black to white evenly. So these are the tonal this's, the tonal range it's called and that range is from here to there and tone is the tones think of the grace gal information inciting a photograph. So if the darks to the light's forget about the color, in fact, I could even change this to latin mode if I wanted and under my channels go to the lightness channel and this is luminosity, this is what we're looking at, so I'm going to take away color just simplified even more and so right now, what we're looking at is the history ram, and this is looking purely at the tones inside of the photograph and black, white and higher. This is, the more pixels they are in that particular region. Now, if you look down, the bottom is going to tell us the level. If I move all the way to the left, you see his level zero with away across it goes to two fifty five member I before I mentioned two hundred fifty six, because right now we're in a pit, so a bit mode means is two hundred fifty six levels of gray and each channel and the reason I took away the colors because the color is out official because a ll camera is doing when you're shooting on that sensor. It's not shooting in college, shooting three channels, which represents the colors and it's got a little thing over this sensor on those on those little areas of the caen today, it's actually like a coating, which is, you know, green, red and blue, rgb, red, green and blue so those air actually just grayscale information this same in photoshopped, too, in fact. That you know we could get back to that it's getting a little down a rabbit hole but that photo shop actually an rgb also shows it in red, green and blue but then it just turns those into color to show you the color image. So anyway, so we're going here is we get two hundred fifty six possible levels zero is black remember we're not talking about paint if you're talking about paint zero is a blank canvas and in as you laid on the paint then it goes all the way up to you no more paint so the number gets higher the more pain you put on here because we're working with light it starts with zero and in a brighter it gets it goes more because we're adding more light so that's why white will be two hundred and fifty five and the reason once again is to fifty six levels but it's two fifty five because it starts counting it zero zero's actually so we could move along here. This will show me any level I'm at in the image right now so if I wantto know go teo you know, one hundred twenty eight there I am at one hundred twenty eight right now close close enough to it which is around my midterm and you can see that there's showing me how much uh pixels are in that area and you can see the history times not super high at that point so what it's showing me here is that most of the detail here in this image is around about this area so the dark areas which is all this this is a picking a girl up here so this is showing it at the higher it is the more pixels they are and you can even see the count see that even shows you exactly how many pixels they are at their particular level so you can see that and even showed you the percentage of the image that santa I'll show you how many are in that region so you don't worry about all this stuff here though we really worry about is blackstone white how high it is and whether or not it clips of the end's notice that this nicely falls off of the end here which means that we've got detail here and highlights and nicely falls off here meaning we got detail in the shadows if I go to this image here which is blowing out notice where the highlights are you just see this sharp boom it just ends and that's because these are the highlights here because they fall outside of the two hundred fifty five they're higher than that they're not going to so they just cut it off white because that's the maximum that photos off can show or the maximum that your sensor could capture on that camera so so that's basically, how the history homework. So I'll go back to your camera when you're looking at it, you see exactly the same thing. So if you see a go hard up against this end here, that means you're clipping or cutting off highlight detail and it's becoming just pure white. Now, if I take this image here and I just said, you know, come on, bill for levels and I decide to darken it watch and notice to inside levels, and the reason I chose levels are not curves is because you have a history and notice the history ram and levels is identical, so levels is like it's, like a interactive history. So let me go here and you can see the whites they're cut off, and I can't slide that slider over any more that way. It's a pse faras it goes now if I go here and I pulled the black point and I pull it in notice, I've taken this black point here beyond there that means these pixels now I'm going to get cut off and you can see the history graham here, look at this it's cut off. That means it's clipped, and if I click okay and I apply this now. Look what it did. It actually clipped the blacks and the details now gone and those blacks and it's just set that point to pure black. So right now we have you know what? You could consider it bad history because we got clipping in the blacks and the whites. So, you know, and that's what you see in the back b camera tube when you're checking so you know, that's just the basics of a hist aground but I think should should get cool. That's fantastic. Thank you very much ongoing to reiterate a little bits. I know we talked about this earlier, but cayenne asks you've shown how to do the directly in photo shop with c c can you also do those same adjustments in just the regular? If you have older version a photo shop in a cr and can you remind us again how far back you khun, do all this hdr work in past versions of photo shop? Okay, now as faras the no you can only do si si on ly cc enables you to do thirty two bit imaging inside off camera that's, a new feature that adobe added a major feature very good feature. However you can do it in library so you can still do it in light room now is far a cz how far back we go that's I would say, you know, what really started getting useful is around cs three is when hdr inside of photos got you so it wasn't great seas five was when it really started to get good, awesome. Okay on and also for the a c on the light room work flow you know, we are going to cover that we'll get into that more a little bit more later. Cool, because that was amazing. That was really cool to watch that dp seven wants to know very similar to the shot that you made of the model with the car when using a flash for the first shot. How do you address subject movement in in time to shut off the flash for the second and third exposures? Tell your models they really still okay. Um and, um and the other thing, too is depending on anyone if you if you blow your flash out full power and you do really first expression even get time to recycle between the next two shots anyway and that's just generally good advice for all hdr shooting of models, correct, keep him still. Yeah, now we're doing, you know, and I'll be honest between those movements between those shots, that is a little bit of movement, but we were masking and we just we just careful with the masking on and sometimes, you know, I had some of the shots where there was too much movement. I couldn't use it so that it does happen, but it really comes down to telling the model, stay still, if you work of a professional model, well, somebody's modeled a lot. One of the things that they're very accustomed to do is when they used to send us that flash pops they used to jumping into another post. You see the flash bomb that means moved. Freeze, clash, they moved, freeze flash moving, they get into that rhythm, so, you know, tell your models hate, you know, this is not the sin of the flesh goes off that's, not your signal to start moving. You don't move until I tell you.

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