Photomatix and NIK HDR FX PRO
Let's go into the filters now and we're gonna look at some different term mapping tools so I've got some plug ins here and one of them ones I'm going to start with here is automatics so it was filter photo matics time mapping now automatics is the de facto gold standard of each turtles it's one of the oldest and still one of the best and you'll see why we're going to click the term mapping right now and this is made by hdr soft you can see just by opening it look at that um now each of the time mapping tools to different things and I like to equate them too pencils if you're an artist to work with different pencils and you've worked with say a to b pencil or four b pencil were just soft and ina to hr for age pencil which is hard I like to think of automatics isa to h pencil because look at the detail I mean you can get in here and just get incredible chris chris detailed edges that no other tom mapping told that I've ever used is able to get the kind of detail that I can get out of my ...
photographs here inside of automatic so if I want to go for that kind of a feel when I want a very, very chris detailed look this is this is where I come now it could do a number of different things we've got two options here we go tone compressor which gives a much more natural look and feel or details enhancer now here's the details and hansa here and this is very, very sharp now one of the things I've done to have created my own appreciates here so you can just click on some of these presets and you can see different looks now these are the process you get these for free if you have a registered for the class this is what you get in your room and you don't and you can see here there's more natural so sometimes I use this process that come with it you can see these are the ones that ship with it um I present like my own ones not because I'm saying it better but because I know what they do and I've said them up you know, to work with my style of photography so you can see this is just starting with the priests it and at this point we've got a lot more options that we can play around with wait look at these different options here. The strength is how much of the effect you wanna play a nose that could get very hard or we could go back here and get a more natural look color saturation works the same as color saturation and anything else just more or less and actually a lot of the time when I'm working on stuff like this when I've got a lot of texture and a lot of details sometimes I de saturate the image a little bit and the reason I do that is because you know I have a background is as a graphic designer and one of the things I learned about in graphic design which carries through over really well into photography is less is more and compositionally speaking if you've got a lot going on with texture and you've got a lot going on with color you get incredibly busy photograph and because of the nature of hdr you're pulling out a lot more detail than people are used to see so you've got extra detail shadows you've got extra detail in the highlights and because of that you have a very busy image tone mice so because of that you know if you've got like, really busy with the tones and you've also really busy here with the colors it can start to become sensory overload which is why I made a very bright and colorful for times square in new york because that tells a story because times square in new york is since we have a lead but for the rest of the time a lot of the time I'll d saturate a little bit pull it down and so he was going to get the luminosity which have turned up really quite bright here and actually gave myself the teacher with the eyes going to goto my interpretation of what these are um all right? So the luminosity what that does is it boost the details in the shadows so if you look here you know it it doesn't fake that brightens the tire image when you pull it across has that effect but what it's really doing is opening up those shadows and so I go this way it's reducing the shadow detail that's what its opening it up which of course would cause it tio open up the whole thing they don't know detail the areas of detail if we increase contrast this with this detail contrast stirs if I tend us down notice it really kind of it starts to brighten up the image as well, but what it also does too is if you turn it up here you know that some of these high frequency areas where there's a lot of detail here are a little more contrast in those and we turned it down and it reduces the contrast in those areas. I'm kind of think of that as I can and shop my ask almost so you want to kind of get a balance between your detail and your luminosity here to kind of get your overall turns then we come down the lighting adjustments that we turned that option off this lighting effects mode does something slightly different than that the lighting adjustments as a change, the lighting adjustments notice how the mapping this is actually changing the time nap notice has just completely looking at it different in different global areas, almost like taking a mask or say, for example, you take a black and white photograph, and then you blurt and you change the amount of blur, and it kind of starts to change. So this is what this is doing is it's so is changing the entire tone mapping by changing the underline mosque. So it's choosing different areas is local areas and noticed some of these areas that seeing that is one region it's saying, this is a region so you can kind of see how it works like that and you'll see in the water. So the regions that kind of changing as I'm changing, changing it so this will change our, you know, our overall tone mapping field. The other option is to use the lighting effects mode, and you can see this we could get from natural. We can push it all the way up to surreal, plus what's a real medium, and you can see these this five settings here, thie one here is a little bit more national, and you have more control rather than just a five, so we could move down here a little bit more. Now smoothing highlights this is a useful thing not really showing too bad on this picture but let me do this let me push this up a little bit yeah is that there's a good example see how we start to see some of these halos and stuff around their typically speaking see how the smoothing highlights see how smooths out those handlers evens out those areas this is your tool you really used to even out your skies that's really cool and that those are those halos are sort of indicative of rookie hdr would you agree absolutely you can always tell when someone's got for the first time because of the halos you because they don't know I just don't know yeah cool hey also wanted to say we have a question from mark heaps from austin texas no questions just want to say hi so you know so we can adjust that and in white point you see the white point in the black point and you can see we've already kind of pushed it up a little bit notice here that the brightest part of the image you know is kind of a greyish kind of color so what this does is you know apart from these like tiny little spuds but what this does is it kind of will put these up kind of like the setting the white in a black point on ah levels or curves kind of does the same thing so what it does if we push it all the way up here, we're going to start to blow outta highlights so this was just kind of sit are you know where, how bright we wanted highlights and here and this is nice too when you get areas they get, you know, sometimes of the extent of dynamic range you get some grating, we get the murkiness and this can actually clean them up like clouds and stuff like that this will clean it up using the white point slider and something here in the shadows sitting a black point here notice here it just allows more shadows come here, give you more of a natural field so we can kind of play around with that just kind of get that and of course that gamma good old gamma and you can see this is adjusting on mid tones and you can see we can get crazy, you know, remember I said it was the flavor thing before, but if you notice on here the highlights and shadows don't change as much as it doesn't you know is it works a little different in the gamma and photoshopped the gammon photoshopped tends to affect everything because damn is another part of the algorithm of converting something from illini aton on linnaeus space, meaning when I said linear versus non linear meaning when you wantto increase the light by one stop you have to double the amount of light and then the next one you double it you double u double u double u get on a curve like that linnaeus space is that how the computer works and it just goes flat and itjust even bone, bone, bone, bone, bone boom so in order to displayed on the monitor create something known as a gamma and in the gamma artificially creates this non linear curve which is why when you change the gamma inside of photo shop it actually changes that I know it's a little more technical but that's why you get that kind of ah look as versus using the gamma here it kind of the gamma here inside automatics is not some of said to the way of photo shop is displaying the image but it's more just working with the mid tones so I guess it's a gamma means something slightly different here than it does and first up that's a long story short so let me know if I get too technical because I tried tio no thank you. Some people read explanation because you work with it so much you work with gamma so much that it's great to have a little backstory on that thank you so a temperature you know obviously is the same. You know we can change the color temperature which is wonderful anyone from adobe watching this should be inside the time mapping instead of yourself it's really necessary adjustment anyway but it is inside of camera roy and it is inside of light room so so it's there okay, so we can change that you know, just to sitting in a white balance basically telling temperature then we can go down here under advanced options here micro smoothing if I take this off here you're going to see it gets really really detailed and sometimes it gets so detailed that it starts to just look like this artifacts in there and it just said this is what this could do is this khun reduce or smoothing out some of those details just makes the image a little bit more palatable I mean if I was to zoom in at one hundred percent that detail might look really good but then when you've got the image in your displaying it smaller it's just it's sensory level it sometimes so this can also help reduce noise that's another side of fake very important side effect s over they were going over things centuries. This is one of the things I love here in photo matics is having saturation in the highlights and saturation in the shadows independent of each other because sometimes you know we go hear you know we've got a highlight see where get out saturation of stuff up here and I can turn it down and you can see how it just disappears in the highlight areas says kind of nice and on depending on the image, you know, some images. You really want to have the independent control, it's just one of my favorite creatures actually here, and then we got a situation in shadows does the same thing if we pull it down, noticed the shadow, see, down here, this area here notice where it was kind of the white dallas was different there pretended up, see that, and I can reduce the saturation just in the shadows, and sometimes, you know, if you don't want to reduce the overall saturation in the image, you can just take the shadow saturation and drop that down a little bit. And another reason I like to adjust the shadows. The situation in the shadows is because it's something that technically is correct, and in the real world, when we look at things, we see that we see the color situation in the shadows, but and photography, we're not used to seeing it because of the low dynamic range in the nature of photography, digital photography. A lot of the time we lose on a lot of the color saturation in the shadows with a noise starts to creep in, and then when we boost that back up, and then suddenly that colors there that you're used to being blocked up of shadows you're just not used to looking at it so you know it's a lot of that to a lot of the perception is a lot you know, a lot of people you know there's a there's people that are anti hdr and part of that is you know, they just stuck in the old ways they're used to looking at a photograph this way and you know, photography was never a pure art form ever you know when photography first started and all the painters were accusing photographers of not being purists that's so quickly we become museum keepers instead of being pioneers and I think we should stick to being pioneers I'm not appears at all I will use whatever technology I have at my fingertips to create the best image we can yeah, you know, it's really interesting we've had a few professors talk about ansel adams and he is quoted to saying that I think it was just the beginning of digital he was like oh yes I mean he would have gone down that road people think of you often think of him as a purist but he he did as much or more manipulation than many of today's photographers what it just did it differently I absolutely agree if f ends will was still alive he would be the champion of hdr yes, we will be loaning from him because this is what he envisioned, he just didn't have the technology exactly. Of course you'd be doing a black and white space, but of course I think we're lucky we're learning from you because this is great stuff. So anyway, channeling handsome eso now we've got the control here, we can also do the shadow smoothing, which is I have is kind of funny because I haven't, you know, I can see what it kind of does is it kind of reduces this area, but let me see what I wrote here because what does experiment with and then looked at the actual explanation and try to figure out because unfortunately, the sum of the helps inside for automatics and really good, but sometimes some of the instructions, you know, being a german program, it could be a little technical sometimes, and the butt anyway, so the shadows moving our good here reduces shadows and contrast and hans mints, so I guess, you know, technically it's simplifying the shadows, and so, you know, we don't really have too many problems here in the shadow areas, but you can see they're, you know, just kind of affects it there and also controls overlooking feel. But if I had another photograph which he had a lot of shadows would probably see that working mohr like some photographs you'll notice some of the sliders will be really, really you'll see a major difference in certain photos and in other ones you want because, you know, every photograph is different and that's just kind of how it works and intercourse shadow clipping this is a really useful tool if you have an area, sometimes when you get the shadows and it happens even with hdr, you can have a shadow there when you've got a lot of noise in the shadow, particularly if you're doing a three stop, you know, if three shot each day like I am a lot of the time, you know caption in tide dynamic range, I mean, there are times when I will capture the entire dynamic range because that's really important and then the other times when I don't like this one here, I I don't have all the detail in the shadows here there's still a little detail shadow them, I didn't need it, it didn't necessarily, you know, we could look at it up there, you know, it's, um, you capture what you need so anyway, so what the shadow clipping does is if you've got some areas, you know, these really grainy, noisy shadow areas by pulling out the shadow clipping, I'll get really extreme with this just you can see see how stepped out for some of these areas to black, so what you can do is you can actually plugged up those shadows on purpose, and then that just gets rid of that that noise that's just kind of festering in there sometimes. So one of the other things, too, when you're doing the term mapping inside of photo shop, you have this incredible amount of dynamic range where you can open up every single shadow you cannot put up every single highlight. And so now the question becomes ok, we know we can and now when we're starting to get more into the artistic side of things, you know, the question now is, should I? Just because I can doesn't necessarily mean I should so sometimes leaving a little bit of dark in an image, so think about it for a moment, you know, because photography well, you know, those two things, I mean it's it's, a documenting tool, it's a tool you can use the documenting things you know, such a crime scene investigator, you know, you're going to go around, and you're going to document the scene. Now those are not necessarily pictures and hopefully not pictures you're gonna hang on your wall and say, you know, hey, this is our I mean, you know, they could be, but they're not really thinking about photography is an art they're thinking about is a toll to document something, then you get someone you know, shooting for, you know, national geographic or or, you know, a news and now they're doing birth there being artists, and they're also documenting their documenting something billy trying to document and a very beautiful way. Now, if you're documenting an use of it, you can't change it, you've got to capture in camera, so, you know, so you're you're going to catch it in its best light, you know, you're worried about these kind of things not necessary, just showing a detail but showing the most beautiful way of representing because you're also looking for an emotional response it's not just information anyway more so then you go all the way over to the artist and a side we're not document, you know, if you're creating fine art, it's not about documenting anything it's about feeling something is about communicating something and putting your twist on it's you telling a story so you know one and especially go someone tells him no story, they just give you facts which is bbc news, then in the other, and we've got american so it's all story and, you know, trickle a fax, just kind of kidding. I mean, all kidding aside, you know, as an artist, it's, not about the story. What is this story? What are you trying to tell people with your photograph? Is there a story to try to tell if no all you're doing is documented? You're our human xerox machine? If you are not trying to tell a story in photographs, absolutely. And you'd equate ace jr with more of the storytelling side, you could do both. Exactly that's what I love about interesting thing in use, itics of actually being teaching. I started teaching hdr before became popular, you know, which, of course is gonna be perfect for a weekend myself with andi created msm photoshopped cs to asses three around about that time, I created a video training video on my first training video, and I had someone come to me at a trade show and said, hey worked for the c s I in florida and I think is miami or some part of florida, and I actually took my training video, and then they used it with the the police department started using my hdr techniques, you know, not that I didn't invent hd I just, you know, but what I'm what I'm teaching so, you know, that could even be people watching now in the police department who are using this solve crimes because you're able to capture so much detail here they was saying that actually I solved the crime by taking a photograph of some tire tracks, and they said because of hdr, they were albums that actually identify and find a criminal based on using hdr with those tire tracks and pulling out the detail that they would not have been able to do and regular crime scene photography so that's using it and the documentation side and taking advantage of the technical abilities of hdr and then on the other side where, you know, not necessarily worried so much about the technical side over more the creative side and the opportunities it gives us for creating different types of art or the artists oh, and you know, you might want to go painterly you want, um, I want to go super, hyper realistic, you might want to go for very photographic and just push it just a little bit, you know, just add a little bit of extra detail on the highlights of shadows. That's up to you, but one of the things is, you know, when you don't get photographs, and particularly when you look at some of the older photographs really well taken, you know, some of the black and white shots part of the beauty of the photographs is the shadows, you know, you look in the shadows there, you know, you see a building and you see a little bridge and then you see, you know, the street, like coming out over the street and in the end under the burgess and listen shadow, and then you look and you wander well, what's in the shadows, you know? And and I can give a feeling of mystique can give a feeling of, you know, being eerie or mysterious or dangerous or whatever it is, you know? So the story is there in the shadows, so just cause you can take hdr and open up all those shadows doesn't mean you should, because there's times when you want tohave things based on shadow, if if you can, pay that in shadow but cloaked in shadow, you know, those times when you want to do that because that is telling of aristarchus story, because sometimes you mind can make up pictures that, you know, we can't produce without cameras, film noir. I don't know, I was a great example, so you ready for some questions or you're going to keep our how you feeling? You want? Yeah, let me just I think we're pretty much through a ll the settings here inside of automatics, let me just finish up this great and then we'll take some questions and the other thing I was just going to show you really quickly on here it's how to save appreciates I'm just going to choose the presets here and I'm going to choose safe settings, and I'll just call this colin meeting, and I'm calling me because it's a very medium kind of adjustment on everything and I'm gonna hit safe and now if you ever want to access that, you're going to see it's going to be under here right there so you can access your pre sits here when we're working in the plug in you can see under here he is a priest. Yes, we go different sets here they ship with, um, with the program and you can see these now when we working for automatics pro, which we're doing a little bit, you can actually see previews of your own process, which is really cool someone you load them in here, these precepts, I would just choose save um, you know, we could just like I said, we can say that we can choose load and we can load the presets and so when you get my presets when you download those for free just grab him and it just clicked load and then you can load them in there so I'll just give you a little tip I probably shouldn't say this but if you could for yourself capt raydor come forward slash creative life you can just download them so they're right there and so hopefully you register for the class but if you didn't you can still download them anyway way haven't but at some point when you're a chance can you show how tow install those pre pre sets right here you just open up the plug in here you just choose presets and you choose load settings and then you just go to the presets because you'll get them in the park great I'm symptom just select the mall actually just like the folder once you unzip it's like the photo quick load now just loaded and I go it's an nl appear inside under here library application support automatics presets and you'll see them in pre set there so that's the take a screen capture if you need to that's the part of the medical command shift for you and you can drag if you're using windows print screen if they still have print screen to they still do that I don't okay, so anyway, so at this point here I could click okay to apply it what I will let me just show you and this is a little gotcha that sometimes happens it probably won't on this one, I say no, no, no see, sometimes you going here doesn't look the same and when you applied it, look at this. A site is brighter on and once again that's what? You come up the view thirty to put preview options sometimes I told you that slips zero one get back there and now there's exactly the same as what we're looking at. It might not look too sharp, but it the sharpness is there is just the screen zooming is just not making it look that way see he's even it's just a sharp that's. Exactly what we got in at this point was still in thirty two bit file, so we're going to change it back down to when you're done. We can. We could say this is a city to find keeping it, but you probably want to convert it now and we're just going to go into image mode and we're going to use a pippa channel once again go back to our explosion gamma zero one, but notice we don't have to change because I changed the end of the view if I didn't change it under the view that we had sitting would be there so the other option is if you if you just going to convert it you don't have to go under there just go here exposing gamma just zero one and in click okay and in them you've got an eight bit file right there and you can um printed exported retouch it do whatever you want with it so let me just do that and you'll be happy to cool first off um can you tell us sort of the history of this shot before you got it into photo matics in other words how many exposures did you have on dh then you ran it through a cr could just tell us a little bit about thanks when you open it up we just opened it straight up is a thirty actually I have the original files right here and all I did here is here we go here I'm just going to go into the bracketed shots I should actually be opening this inn like ruined a lot easier and eventually set up my library to do that so well go until light room in a little bit um you know what steph talking about it why don't I just do it? I use light room now a lot in place of bridge what I'm working with photography I use birds for a lot of other things and you know, particularly when I'm doing designed stuff and I'm working with in design or whatever you know it's it's great, but when it comes to photography I used my room all the time I love like so let's go on to here we get h d r and I just created some collections and does that thing get us light up? Yes, on we're gonna pop that open. And so what I've got here is I've got my bracketed and bracketed with juice. I reduce some of them so I could major quicker so this looks like the photograph right here. Is that the same one? Looks like it. So there's three shots right there shots. And so it took three shots and you can see they're justus I was showing you before regular that one there is under exposed by two shots and you can see all the detail there it's bringing out all the cloud detail the highlights overexposed by two stops opens up all the shadows so I did, just like we did before lunch is I just selected those photographs and, um I went there and you do a slightly different here in light room light room you choose edit in and you don't go into them photo shop you get down to moves to hd pro and put herself and it's just gonna merge them together just like we did before so you know what? I wasn't doing this I'd be happy to take take another question, but basically all we do is emerging it and then at that time all I did is I just choose to save it a za thirty to file and that's it so all I was doing by opening it as a thirty two bit file was just saving having to go through this particular part of it that part of the process and faith I'll finish it right now I just choose thirty two bit and in just can I get around that? No see I've got that seizes a tone in a in a cr I've got that citizen default photoshopped I don't think I can change my preferences in here but that's one of the things you have to sit as a preference we contend it off there andi, we turn it off then by default I want all the time and we can click okay? So now what we're doing is just taking a thirty two bit found I'm just hoping you're directly into photoshopped perfect as a thirty two and I haven't touched it I didn't do anything to it apart from merging up from light room and photos up there it is then I just choose file save as and call it cheat on underscore thirty two and now you have some options here you can save it out as photoshopped open eggs are or tiff there's other ones there but these are the ones that matter. So for a lot of the time I used to save it out as a photo shop because I knew as appears d it was a thirty two bit but I don't do that so much anymore he's a tiff now and the reason is because the light room cannot open a thirty two p s d but like room can open a thirty two bit if by saving it as the tiff then I can do the time mapping in light room as well if I want now the other option open e x r if you're doing any three d work compositing stuff like that programs like maya use open x are as that the fault hdr process and a chair is very, very heavily used in visual effects for example the benjamin buttons movie the scene when he goes in the wheelchair when he is the old man which is the young benjamin and I roll him through the house and ghost are all these different scenes that was all cg and then tire scene was lit using hdr so is taking the easter and using that for the lighting for that particular scene and so they use a star for lighting it's used for creating reflections on surfaces, reflection, maps, environment maps so spears created with hdr images and you know objects and moved through them in virtual space on the reason I did that is because, you know you can have you can adjust the lighting for different circumstances and an entire dynamic range is this is very, very heavily used in visual effects cool and and now photographers who got ahold of it and running with it so great. Well, thank you for showing that again, and I liked how you showed it in light room this time as opposed to a cr, but you can merge hdr in both those two pieces of software. Yes, I think we'll actually no, you commit it from there. All the merging happens inside of yourself. Okay, so if you look in photos up here there's an option, which is the automaton most to hdr in here. So whether you're going from bridge, whether you're going from like room, all it does is it cools this command inside of photo shops that actually just connect with photoshopped scenes, the images into this option here so what it does is just saves you having to dig around in the menu you could just go directly from library muybridge brilliant, okay, so question from asia and frank german kind of similar, they use photo max for hdr, and asia sometimes gets way too much noise in the sky, and frank german sometimes gets strange turquoise colors. Did those sound familiar or I've seen? I've seen those things happen quite a bit, so one of the things I haven't really been singing saying the weird ter course in the sky as much as before, maybe it might have something to do with the bracketing just making sure that you've got a good average exposure and not leaning too much into the shadows. You've got enough coverage on the camera there. Any highlights on any other thing is if we're using the term mapping in photo medics as it was showing before to get rid of this noise in the sky here, let me just put this up here and see if we can see how the sky's getting pretty crazy there prison until contrast, right up me, play around the gamma seven, get it looking really bad you see there's quite a bit of noise there in the sky now, um, assuming there and sense the dust and some ghosting eyes, the birds there, um, so the smith highlights does a nice job starts to smith now the sky I see that so that's, one of the one of the tools you probably want to use a little bit there on the sky and the micros mooning micros meeting does a lot so if I take the micros meeting off, see how gritty it is and then we start to turn it up here we can really start here really smoothing out the sky just get a beautiful smooth right now if you feel like you're losing too much down here um there's nothing stopping you doing a double tone map meaning that you could tom map this for the sky and you could also tone map it for for the area underneath and then actually mask or composite those two together, which would also get rid of about problems here with some of their ghosting we could do that manually and that's kind of some of the stuff in the last signal. We're gonna kind of touch on some of the compositing of some of the more advanced stuff. You know, towards the end of the day we'll look at some of that brilliant. All right? I think we'll do one more question before we move on it's from will's creek in colorado and says, can you save a tone mapped image as a thirty two bit file or has the conversion two, sixteen or eight already have been done before? The tone mapping changes are applied no, you can absolutely change it. And here's the beautiful thing about working with thirty two. But space is it's completely lossless no matter what you throw it this you lose absolutely nothing because you've got so much information in there. So yeah, you can say about a thirty two bit time map file and you can open it up and it will retain it. You can return that that you could turn map it two or three different times. You khun turn map with light room and hdr and I mean a cr and photo matics and nick let's have a look at the nick one right now. So we're gonna get a nick hdr affects pro too, which is a nice, nice improvement in the time mapping from the hdr effects per one. I wasn't a big fan of the first one. I thought it was handsome, neat features in it, but I felt that the tone mapping was very heavy handed and you see, like some of these presets still, in my opinion, or too heavy handed and intense a look a lot like harry potter, everything looked like harry potter about in a chair fixed prior to it, doesn't it that she'd done a really nice job just to mention, too, I forgot to mention the hdr fix. It's terrific the automatics if anybody buys for automatics don't forget to use the code for the shop cafe and they say fifteen percent so if you buy the term map begin or the pro pro version I mean it's a relatively cheap programs and about a hundred bucks you can still say that fifteen percent so it was nice of text and this confirms fantastic that's that's great and hey you guys out there I want to repeat my question because apparently my mic was off so oh I had asked you to compare the different hr pieces of software the nick along with votomatics that's what we're doing okay so the photo matics as you saw I think the turn of the automatics has is really, really good when you want to go like super highly detailed also does a very good job of natural tone mapping. The other thing is if you really want to, you know, take the training wheels off photo matics is the only one I'm aware of that does best processing so that means that you can literally have a batch process thousands of images without you having to sit there, emerge them over and over again and that particular comes in useful if you want to do ton lapse if you want to do hdr time life's you could do that and I think I mentioned it earlier on and it khun best process those for you so saves you days of sitting there on the downside I think you know the automatics the interfaces not the greatest interface in the preview is a little punky sometimes where's when we're nick here nick has a you know very elegant interface as you can see it was a beautiful in the face and there's something that nick has always done really well is just very disciplined, polished feeling product so the thing about nick one of the big things here is the presets you'll see there's a preset library here you can see you've got a ll these different types of presets so ships with you know, a whole bunch of presets here you khun also you know do different things you can create your own ones here and we can you know, import do different things here now this panel here is kind of like I'm management thing weaken so high that just by clicking there um the other thing that I think is kind of neat isn't it was you get a split view so we can look at it before and after and we could drag this around so we can actually compare the before and after bag image um that way we can also look at them side by side so going down to the tools which of what really matters who cares how beautiful the unit faces of the tool suck uh right eh? So what we've got here is we got some really good tools here we're gonna open up tone compression and the way this works is coarse simple really is hd method is this is the where the guts are the burden butter here is we can go and do different things, you know? We can change this and we can you'll see that that gives it little names here so right now we can go depth and then we can go here it's the settle you see what it is they're so what did they won't call it off like I did nothing so there's subtle, normal and then we got strong so you can see how it kind of just changing that and then we've got the second area here the detail if we go up here we can really push that's it gets very, very detailed grungy they call it and down here is off soft realistic actually I think is a little more detail. Yeah, there we go and then we can just play around with these so you can get different degrees of how you want to work with that and you could work with the death notice it does a lot more now that we've got something going on here and in drama drama is kind of creative go up here and get super grainy or you can have a very flat so you could just kind of play around with these tools here just to get your overall flavor that you want to get in your hdr and now you can play around for you tone compression a little bit meaning if it's here is compressing it which is showing a lot there you conceal your detailed is showing and everything and you're opening up all these highlights and everything like that we can pull it back down a little bit here and a lower contrast more natural this way so what are you going to do is you just kind of mixed that way you like it and now you notice on the the method here we were able to create a myth but I notice you didn't have a lot of options there is like you've got four options so you know four threes was twelve different for what's four to the power of three sixteen times for I'm not very good at math so anyway you get this many options so what you get his methods strength so this is where you can actually blend in how much of this hdr method you want apply to the photograph so you can see this it does give you infinite possibilities just by mixing these and in deciding how much you want to do there so let me just pull that down because I'm not a big fan of it being too dingy that's an interesting word sharp dingy uh deep I like that don't go there I'm kind of more of a fantasy in sand hitting more towards the natural and I am the serialised iq these days not that I don't mind that I like I like them both so now we've got our tonality and let me just compresses so it's like you have a really interesting easy in a face to use us and then we can play around that time natalie that we can say hey, we want a ride or do we want it dark now we can open with clothes and shadows and highlights notice there were doing in the shadows opens up a shadow is a bit more shares more detail in the shadows, plays them up and in the highlights open them up or recover detail see that's bad when you look at that and you see these halos and it looks one caray and horrible that's bad so when you look at a photograph just think about it doesn't match you know if something doesn't match then it is just use your you know your spidey senses just kid stuff that matches it just feels good if it doesn't feel right then then change it you know send him of course we got contrast we get super high contrast or low which is nice to have the contrast lighter right here is a nice option and we consider white black points which works very much like the white black points to in automatics or inside of for ourselves when you pull it down so you can see that what it is doing is on the structure of course is is an interesting one see that just gives more first is less there look I should be the way I look um so I like this is well and I think what it does is when it comes down to the actual toad mapping as you can start to see you have is almost like using a different pantsil is not this is just having a different toll somethings I love to do in and nick and some things I'd love to do and automatics and some things I love to do in camera or light room it just depends on the image and you look the look you're going for I mean I'm not sure how to technically describe one look versus and others just just gives you a different look so you know it's a different tool is our saturation and it really comes down to you know what do you what do you like s so you can see that so we got the tent then we can change the color tint bacon double click it so we said it so personally you know I like to have all of these tools available so this is the thing here that makes a really unique is something that nick has, um, that nothing else has. Is this really cool control points? So let me go back here just going to go into the individual and always, in time, two percent that's. A pretty small image. If it is. Yeah, I was going to say that's, not a hundred percent. Okay, let's get a hundred percent. And this is what's. Really cool. We got these control points so I can actually choose to individually adjust different parts of the image. So I hit the space bar can move around, or I can use the navigator here, and I can move around here. So what I love about this is if I grabbed this control point and then I click what it's doing is adding this adjustment, a localized adjustments if I click here and move it around, see this little slighted here. This shows me okay. Where do I want to? Just I want to just in this region. And you've got these different adjustments, like saturation notice. Now I can change the situation just there. See that? So you've got the different settings here. You could contrast saturation structure and exposure so I can choose the light nor darkened sea house picking out those tones. And if I increased the size there, it will actually go across all of those and where's the little option here. I think this one here says the mosque, so as I'm moving it around, see how it's picking up the certain areas says actually doing edge detection is really cool, so as you can see, the I can and I can add as many of these control points is I want to just a different parts of the image. So you know, this is the real strong point inside of using the mc toll here and let's go back down there and in the other thing that I like about it is that we just click once I don't make it filled the screen see, we can add the control points and you can see you know the size and just information. Then it's got this other option here, which is the finishing hole and if you want to or he is also a loop here in his graham. So the loop will show you where you're going when you photograph to see that or you can pin it, and in a few pendant you can actually click here and it will keep that region and focus see that until I decide teo unp in it and and I could pin it to a different area if I wanted here so it just gives you that the finishing tools another thing that is unique in here is that you, khun, do a lot of this we can have been yet, so we don't necessarily I'm gonna fuck shot to do this and see what we can and have been yet here because a lot of the time, you know, this is the kind of stuff you do in post this is not necessary. This section here is not hdr, the section is just putting those nice little finishing touches on there, and I'm making you a graduate in neutral density filter that's another thing that's really useful, and that was one of the earliest ways that people got around hdr was, you know, when you shoot you shooting a, say, a beach scene and you've got this, this beach there and you've got the sand, you've got the ocean, you've got everything, and then you've got the sky, and most of the time, you know, for landscape photographers, you know is the sky is a big deal that could expose everything else perfectly, but the sky gets blown out, you lose that detail, you lose the clouds or the blue just turns the white because of the limited dynamic range, so, you know, obviously we faced here that's not a problem because you couldn't do that but what they used to do is use this plate util density and still a lot of time was still uses plate neutral density filter it's one of the filters it's still still needed you don't really need the color filters anymore but with a neutral density filter is just like the neutral density filter that was showing earlier on that reduces the amount of light but what it does is this graduated as ah grady in so it goes from filtered toe not too clear and in what you do is you take that filtered part and put it in the sky and then you compose it teo and you can also get adjustment once where you could adjust it and darken out the sky there's different degrees you could do to stops of three stops or you know different densities take the photograph and in that way what you're actually doing is you're faking hdr before there was invented by darkening down part of the photograph works really well the problem of is you just get this grady in across and you know you can't where is masking you khun must get around buildings and stuff with the with the straight usual density filter graduated filter just just pull and this simulate it so you can actually see we can adjust the upper and lower tonality this is what you would get here so you could make it up one brighter the low one um but for one dark and low one bright and weaken bland it tears you can see it just kind of makes it very sudden or very you know settle we can move it vertical shift c that will move its position so we can just bryant no dark in certain parts of the photograph and this case actually to be honest, I would probably want to keep the opportune ality ben no one I would actually probably dropped the low one down just to kind of get the docking down the water a little bit there we go and now smoothing the blend out, move it seeing that we can live it up and down until we get it right where we want it and you kind of play off that and then the other thing is rotations you khun taken angled seeking kind of angle and let me take the blend down so you can see what's happening and then that that's what that's doing is just adding that pardon me split neutral density filter and then you could do a little finishing and curves oh, I should show you one thing in the crib just because one of the things that was another thing I love is well let me take away this unusual density filter because I don't like it not on this photograph some photographs yeah, but there's nothing blowing out here s o one of the things I love about the curves is not necessarily playing around the rgb is effect I can go into the different channels here and I can go in here and I can start to create some cool coloring effects they're changing so that we can start to get really cold looks now by changing the individual color channels we consented to give it a really nice flavour so so I guess you know that's that's the difference between the nick and the betamax to me the photo matics does a better job off the just they bear what's primitive toe mapping like it just does a really, really nice job of the time mapping is very no frills but it does just a really, really good job great workhorse nick is does very good time mapping as well but it has, you know, like a lot of really good bells and whistles that enable you to do a lot of really nice creative things and get some great creative looks now you could combine the two you could do your time mapping inside of photo matics, then open the thirty two book file inside here nick and in just do a little tweaking and and applied some of these other adjustment tools as well, so but you know, I think you'd be well served with either of you both to do a lot but they also extend the range of photos I would say if you're interested in hd, are you going to do a star get one of these plug ins, get automatics or get neck or get both? Because these two things the first up does not might you do a little bit more tone mapping and a cr before you moved it into nick? Absolutely you'd help cover that absolutely you can do it, you can do him and, you know you can mix and match, so, you know, I'm just going to click, okay, this is going to save the image right here, but as you can see, you know, here we are this is still a thirty two bit image, right? So this is being tone mapped in nick, and now I'm in camera raw and guess what? I can look at this, I've still got my full dynamic range so I can still take this and I can continue like, this tone, mapping this inside of, um instead of camera here, so we can even change the color temperature, you know, we've got all these options are still available because, like I say, you know, it's it's a lossless bowman so we've still got all this stuff here while it's in the thirty two, but you know, we could go to clarity. And see how we're changing this up right now I'm combining nick and uh and a c r so I can click okay and say hey, you know what? That was great did that one it's up here obviously andi I'm going to choose get back two filters again and now I'm going to go toe automatics just to show you that you can in fact, well, not necessarily you should once again because you can doesn't mean you should because you know, this is getting kind of crazy on me I'm time my penis think beyond death but is he bears? You can see you know, if you wanted I mean, it looks hideous but you calling through all these different programs now had I been working and nick though and I knew I was gonna bring her back to the other one couple of things I would have done now number one, I wouldn't have done the curve adjustment for the color that's the kind of thing you would save till the very end and that's what really started cause it full of part. The other thing is the structure first that high I would have kept that low, so if you're going between programs don't do any extreme adjustments until the very end just keep everything settle because as you can see, this looks like I'm a kid and I got on the computer for the very first time and kibble ages I'm no saying when a kid is mean twelve you could be seventy and be a kid because you're playing you've got all these toys are available and you just like our and you know, this looks like everybody's first photo shop it's like I discovered filters so yeah, all right, I'm having take some questions I will restart this while we're yeah and we've been getting that I mean perfect time for that question because from cayenne she was asking about moving back and forth between photoshopped to nick to photo matics and you can do it just be careful saving us cleo and go back and forth exactly and I'm pleased to know, you know and you know you've got a lot of tools here at your disposal use them, you know, and it takes a little bit, you know, is going to take really is goingto take trial and error and experience and practice to really get a feel of what these different tools of doing field photographs I mean, I could give you a ll the scientific or, you know, the proper explanations, what each slider does that is like blend modes it doesn't really matter what the description is, what it looks like, what does it do your photograph and, you know, having said that if you watching this class today and you sit here and you watch and you think how this wonderful and then you sit, watch another class tomorrow, which I hope you do because I'm everyone and then you don't actually start playing around with it, you know, going tto learn you're gonna have some little bit of knowledge in your head, but you're not going to become a better artist until you do, so I'm huge at and learning I mean, if I told you how much money I spent, I think I spent, like, six hundred dollars in the last year on creative life classes myself and, you know, and I mean, and I have access to all kinds of training that and I have access to a lot of free training, but I mean, you know, his creative lives free to accept at least wanted purchase it so I purchase stuff I think I see something I'm like, man, this is really going on, but I got a book store, I come out with six books if I, you know, I buy if I see something in education is like, I buy it if I'm like, you know, there's, something I need to lose, I get I invest in myself and I don't hesitate, you know, it's not you know, oh, how much did that cost you? You know, like, like, you know, I mean, please don't take this is a sales pitch because it's not, but you know, they're paying what is a sixty box or whatever for today's class, if you want to buy it, it's, should I pay this expression seriously is eight hours of your time that you're investing, watching this class is or it's begin my classic and it's a book because I don't want to make it sound like, because I'm really what I'm pushing for his education. I mean, I it's what I do for a living, and I do it for a reason because I believe in it, you know, if I buy a book and the books thirty bucks and then is another book that steady five bucks and someone complaining about five bucks one, you can invest eighty hours of your life reading this book, the cost of the book or the price is very, very little it's the education that you're getting from me. And now, having said that, when you get that knowledge, if you don't practice it and you don't actually do it, then you're not going to grow. You become a better out is just gonna become a smarter or a better educated, sucky artist, but you're still going to be a sucky artist until you start going out doing it's just like the other thing that some people say you know what they become great artists but they don't do education and they're like, you know what? Who needs education lookout talented I am and it's like you're the opposite extreme you're a great artist, but you're really ignorant you know what I'm saying? Like you can learn by yourself and, you know, a lot of stuff I am self taught, but I also will learn from other people because, you know, why spend fifty hours trying to figure out something when someone else can explain it to you in an hour to I would rather take that hour to grab that knowledge and in spend the remainder of that time practicing it in getting better at it. So you know what? If you're a great artist of education, that is fantastic imagine how great you would be with education just like if you're educating you don't do it, you you know, you know everything, but you're useless I don't know where that rank came from, but I just know what it was such a great support for creative lives, so you know, it's this and it's not even that is just that's how I process my personal philosophy, you know, I'm not trying to sell anything goes, you know, it's just yeah, that is just how I feel I must struggle if I didn't believe in education, I wouldn't be sitting here doing this right now on doll second that is a freelance artist someone who works, you know, freelancing from home as well when I'm not doing this it's tough not to watch creative life there's so much learning that goes on and I I pick up something every day that you and I were talking earlier about I just picked up two or three little tidbit so it's fantastic so although it is a productivity killer, my problem is I can't do this all ten of creative live on and on three hours later I'm still watching I'm like way love it it's a good thing productivity till it's this addictive yeah, it is very addictive so dulcie want to toss in another question in the mix when she do your final sharpening and what's your what's your thought on sharpening it's happening? Yes, that's a good question so one of the things you can do is you'll notice that there's some of the filters air available so you know if if you want, why not do some sharpening here you could you smart sharpening on shop mask and you could actually do some sharpening here inside the thirty two bit space now one of the things I found in usually, you know, smart sharpen it takes a little longer because you've got a lot more information here and you start to do you're sharpening inside of here you tend not to get as many problems with some of the noise creating noise and artifacts and and different things that you can get sharpening inside of photos up on a standard dynamic range image eso you khun do your shopping right here because I'm in a thirty two bit space right now and I'm sharpening it and then at that point I'll convert it over so I'll do as much as I can in the thirty two but space and it's another thing I wasn't even talking about that we will be doing in the last segment is actually doing some retouching and stuff like that do as much as you can in a thirty two bit space because think about it as working in a raw file. You do as much as you can in the raw file before you khun, but it will bake it out into you know just a standard file so same with the university too, but space take advantage of this extra headroom do as much as you can and then when you converted over you might do another you know, little contrast week or a couple little tweaks here and there and then if it's still needs a little bit more sharpening not particularly going to print it, then you're definitely gonna want to do a little bit of output sharpening because I would never sharpen it inside the thirty two, but space for printing unless that's all I was going to do because then I wouldn't be able to do other things with the photograph after that. So typically you'll say about your version of the photograph. Man. If you're going depending on where you're going, do you apply your output sharpening? So if you want to print it versus you want to put on the way, but you know you could print it, you couldn't put more shopping when you print dynamic range of print is six tvs with very, very high quality paper. You get six stops of light when you print so cool, probably with knowing when you think about that. You know, your point shoot camera has a little lesson that you're dslr has almost double that a little bit more effectively, and your eye can see, like, three times that.