Photo & Video > Photoshop > Hdr In Photoshop > Tone Mapping In Hdr

Tone Mapping in HDR

 

HDR in Photoshop

 

Lesson Info

Tone Mapping in HDR

Now that we've captured are thirty two bit files or we're just catching up bracketed photographs what are we going to do? So what I'm going to do is just show you first up just a couple of really quick options so I'm just gonna pop up in birch here because I've got my files in here and one of the things I did just to save a little bit of time is I created some emerged examples here, so let me just pop this down way go so I've got a folder called thirty two bitten eggs and I'm just going to drag him over here in bridge so that I can access them quickly so if you remember before the break we went through the process of merging the images together the individual bracket of photographs into the thirty two bit files and I mentioned one of the things I like to do is to create thirty two bit negatives and in the thirty two bit negatives is just basically saving the file as a thirty two bit file and don't worry, you know we'll do this again before we're before we've done you'll you'll see this...

process probably several more times, but what I want to do now is talk about the process of tone mapping, so once we've got these, how do we put them to get it and is a number of different tools for doing that so I'm just kind of scrolling through here trying to find some that I think will be good toe work with it shows um different dynamic range that we can work with I think this one here looks pretty good so if I just double click this should open in photo shop cc which it does and let me change this to show exposure that he too but exposure and you'll see the exposure slider there so if we move this around let's see that we've got a good image toe work with yet so this has emerged thirty two bit file that I saved and you can see it looks kind of flat right now and the reason looks flat is just because we haven't really process that yet we haven't done our time mapping so let's have a look quickly at the options available inside of photo shop now I showed you before if we go under here we can choose the camera roy filter if we choose a camera roy filter we go in here and it's gonna pop it inside of camera roy now this is one option we could do a time mapping in there I'm just gonna cancel out I'm just going to show you the options here one of the other things too is we can actually go up under our preferences here another preferences I'm going to go down to the file handling and under foul handling here we can choose to use camera roar to convert documents from thirty two but two sixteen so right now we've got that turned off. Let me show you what happens when I was turned off when it's turned off one of the most popular ways of time mapping and infect up until recent versions of photoshopped this untill see us five the way to do it was you would merge your city to file, and then you would go over the image mode and it's assuring the image mode. So right now we're in thirty two bit mode. We have the option to change it to sixteen or eight bit mode. Now, when I say thirty two bit mode, this is an entire processing engine so photoshopped it's not just like, you know, it's enabled I think the entire processing engine in photoshopped right now is a thirty two bit, so the options there are only available for eight or sixteen, but it will be great outside, you'll see a lot of things, a great out, so what we do is we could choose image mode, and in and it's, we're just gonna do a pit, and then when we do that, what happens is you see, the hdr toning tools will pop up so what's happening is it's getting ready to convert this thirty two bit file? Into a neighbor file. So as we mentioned before, the thirty two, but we can't do anything with it it's more like a negative if we want to post it online if we want to print it, if we want to actually do anything useful with it, we have to convert it into a usable space and you could choose a door sixteen bit sixteen bit gives you a little bit more headroom when it comes to adjustments. If you're going to do a lot more adjusting afterwards, we could do it sixteen, but but typically most people is still printing in a pit and also if you converting it to ajay pig is also going to go into a pit, so we're just gonna work in that space for what we're doing some good options here now turn mapping time mapping, as I mentioned before, is the process off taking all of this information with got inside that thirty two bed space crunching it together, we're literally compressing that information so that will fit inside of a pit space. So this the part of the compression is known as the tone mapping the tone mapping this is the fun part, this is where we get to be creative. This is where we can decide we want us to look realistic. Do we want mr look sketch that we want look a painterly do we want a grungy this is where we get to be artists and you know and people might honest you know hey what's the best way should it be natural should've big urging well you're the artist that's up to you that's entirely one person like that one way another person likes it another way and not just there but also with the images you're working on, you know, depending on the image, what do you want to do with it? So you have these options but because of the other thirty two bit fine, I can always go back to the thirty two but found change it and we do it later on so these are the tools available inside photoshopped so we've got methods these are water known as they give you a big word these air term mapping operators or turn mapping algorithms there's four different types here the first three of water known as global operators global operate is mean that when we turn this on, it works on the image as a home. So I just said that zero says white look too bright and so what this does it just looks at the image and just goes, you know, light nor darken doesn't look necessarily care about the content of the photograph it's just lightning or darkening across the whole thing to the exposure and gamma doing that lightning dining and any gamma is doing the mid tone which also influences the field so you know we can see that that looks very stylistic and then you get to the left it looks more natural so the next one we've got here is highlight compression highlight compression literally takes the brightest point of the image and makes that fit within the space and in a just everything else inside there once again it's a global operator now it says there's no options there are actually options appear in a thirty two but space we can play around with exposure and some of the different adjustments but when I can do that right now the other one is equalized instagram and this is just once once again it's a one shot you just boom! This is what you got so most people when they're doing the term mapping a not using the global operators although I use explosion gamble all the time just to find a neutral point because I know zero on one is giving me exactly no influence with this time mapping so I'll use exposure and gamble all the time just to make sure I've got my sitting zeroed out if I did my time mapping in adjustments on a different ways using camera or one of the plug ins or something else but typically local adaptation is what we're going to use and this is north was not as a local operator now local operator words very much like the human eye it's a much more natural if you look with your eye and you look at a scene your eye does not take the whole scene and just say this this is the scene you looking at I mean, you try to do anything I mean how why do you think you could really focus for example look at the screen here can you really look at that whole dialogue book myself or you know, are you going down to one slider or don't toe one letter the eyes very precise, but the other thing is if you squint, you start to see things like I'm looking here and if I squint a lot you know, except to see these little blobs of light which a defining different areas or different objects so you could actually call those regions so when we're thinking about working with tonal regions, then you know when we call the term mapping those tonal regions where the software actually looks at these regions and say, hey, this is an object this was an object this is an object so that's how it works on a local so just it thinks about each one of those regions independently when it's making that adjustment so they're either doing across the board it's actually analysing different parts of the village so long story short, what it does is it gives you a lot more options, so I'm going to open up the curves here. The other thing, too, is you'll notice in some of these other operators. Um, not that one let's have a look here. Well, not in cc, but in some of the other ones that showed curves, I guess in cc they took the curve that which is perfectly fine because it serves no purpose. You couldn't use the curve. The only one you can actually use the curve in is local adaptation. So if you've got an early version of photos, you see the curve, none of those other time mapping tools will let you even touch it. So I guess it's pointless having it there, so in this case, we can actually play come, we can adjust and we can we can move the curve around and start to adjust, you know that the tone curve manually and it works the same as any other curves in photo. So I'm just gonna click and drag to remove those so that that's a good option, because that gives you precise adjustments if you really wanna tackle a region. No, um, just wanting yes, I figured if I collapsed he's, if I'd be able to see the bottom, which I can because I was a little worried because it was off the screen so s so we can't collapse those little things, you can make it fit in there and some of the things you know, when you're playing around with these curves, um, now that we're going to do too much with them, but there's an option here called corner, and if I click on the corner and enables me to literally create very, very precise regions there very, very sharp regions, and so I can actually select these and I can move them independently or if I hit the shift key, I can select a couple and now I can start to move them up and down like I would a graphic equalizer on you know, and what do you think? I don't know, I'm not looking at the image right now I'm not trying to change anything so far looks weird, don't worry if you hold down the shift key, you can incorporate more so you could move your whole curve up and down and across etcetera. Now, you know this looks absolutely horrible and we click away and get rid of ladies, but the reason it can get away this is where the pressurization is happening with the curve like this is because it's so much more information inside of ah thirty two b file oren hdr file that we can actually get that precise and we don't have to worry about weird things happening to the photograph if you were to do a sharp line like that inside a load on immigration jj photo or you know just a regular little sixteen bit you're going to get some soon as you do that you're gonna get really weird things happening because there's not enough information there for a whole for toe hold together so that's just kind of a little bit there on the curves once again his two gram black toe white so that shows that there this is the darks and this is the light across the bottom and this is just a history graham here just like the history we described earlier on the amount of pixels in a different regions now with the curves this is the before is along the bottom and any after is this and watch he would got black toe white see that slider so if I add a point on my curve and try not to move it and we look at it and we go down say um you know we just drank it down to here and that's exactly equal see that? So if I get down there and then I look at the corresponding value is that much gray right there so if I go up then go across noticed that that gray should be exactly the same tone so that means this curve has not turned on it's not doing anything I think I might have slightly moved it so this is the input and this is the output so this is before and after so think about put is after right because if you're passing through something you go out after you go in so what we do is if we look at it here this great value so that before value is never going to change across the scale but if I want to make a brighter like say this bright or that dark I can move it up and down and so we brightening those tones if you watch here this particular tone is still the same on the input but now in the output it's brighter so what we're doing is we're literally mapping these tones using curves or tone mapping so we can change them here doing that now typically speaking as I said, I don't really do a lot with the curves I just want to show you that and that's how curves work any curve works and photo shop and you know if we need to and you find a particular area you really want to get in there and target it you could do that and you can just simply click on the photograph there and had the command key or the control key and click and I will add the point to the curve just like now, we can pull that particular point up or down, just like any other curves, so let's, go and have a look at some of the other options. So these are some of the more interesting time mapping options and are coming up. And as I said, this is photo shops, main time mapping tool right here. So we've got the radius in the strength. So what the radios and the strength do is basically, if you look at it here and I'm just changing this, you'll notice it really changes the way it's viewing this this photograph and what it's doing is it's just changing the radius of the mark and the musk is remember I talked about the local areas vs global so the local areas it's kind of like an un shop. Mars, when you run a known shop mask, filter onside of a photograph, it finds the ages that finds the areas and isolates those areas. So this radius is the same as a radius on the gun shop mosque, so it works very, very similar to that. But instead of heading a shopping or adding contrast to the edges, which is why on shop masters, what is doing this is enabling us tow addle these other different tone mapping tools to these different regions. So that's, what that does on dh typically, I like to keep these very low and you'll see it doesn't do much until I start to do things with these other sliders so let's, look at some of the other slightest here exposure, you know, brightens their image, darkens our image cell it's I'm brian it up a little bit for exposure now at gamma tal this's, the magic the magic happens in gamma gamma is typically is adjusting the mid tones, but it does a little bit more than that and what you'll see here's, this changes the flavour I like to call this the flavor slider, so if I go across this way here, you'll notice we get a very hyah contrast very kind of natural looking, but what does really doing is pushing the contrast in the mid tones technically that we don't care about. Technically we care about justin, he says, flavor so let's change the flavor of this now, as we go up now, you start to see mme or what you know you see is your typical tone mapping, which means that we're adding what it's doing is reducing the contrast in the mid tones technically, but what is doing is this I'm now allowing now more colors to come through, and it starts to look a little bit more painterly. So that's what this does so you can decide you know what I want to make this like natural don't to make this look painterly so we can play around with this now the next one and we really want to make some of the things really zip out of here is what we play around the detail the detail kind of work is to give it more flavor see this this is where you get those crispy edges and obviously we go down goes the opposite just creates it just very soft so to get this a real look you're really going to be working mostly with your gamma and your detail you know we could I could push these all the way up if you want, which is gonna look hideous, but I'll show you you can see that pretty horrible and don't worry about the edges because this is the tilt shift further that we were working with that's what it looks like that so you can see this and now we're gonna work with the radius and the strength now you'll see now that I've done some of glamour detail, these guys will start to do something notice what happens in the radius now see how you can really see how starting to change the way we're getting this around handle tennis strength up and it's going to get really crazy and you can see here so tender strength up and then what we're going to do is always start to get down there we start to get some of these little problems that you see in bad time mapping and that's what's known as halos and that's not too bad on this particular image, but if you look here, see how the yellow is very pure there but around the edges that's is blowing out the white because that's creating these halos within these objects now typically, you know you have a sky and and I have, you know, where the areas of contrast, if I haven't say a sky and a city you would start to see around the sky would start to see that glow that's bad you want to try and get rid of that the halos and usually what I do is I'll take the radius down really low because I want more detail and then I'm gonna drop my strength down and just play around with that and that's what I'll do a lot of the time to kind of fix that and you can play around if you exposure or whatever it is, bring it down a little bit, so give it a little bit more there we go try to find a nice balance there, and sometimes what happens when you're working in this toll to is one of the things we'll find sometimes you do tend to get ah, little lack of contrast, you know, in contrast meaning, you know, strong blacks and pure whites. So let's, go down here that we can start to play around with some of this. So we're gonna shadow highlight. This is where we recovered detail. So if we go in here, we pull it shut up. We start to open up more detail in the shadows where we could go the other way and we can close it down. So you see that seeing the blacks there the same thing in the highlights if we go up here notice that we're recovering a detail in the highlights, you know, seen the halos around there as much, and then we go up here, see that's that's kind of opening him up a little bit. So this is everyone can kind of play around the shadows in the highlights there vibrance and saturation very similar. They basically do the same thing, but then you do it a different way. Saturation, I think pretty much everybody knows what saturation is. You turn it up, everything is bright, turn it down and it gets faded into grayscale tenor of too much and the clowns the loose um, there was somebody set a comment once about hdr being clown vomit, I think it was the, uh, the guy that runs he was looking at a flick of someone's flick a page like twenty one I can remember is the guy who runs one of the big tech companies was kind of famous, quote it and a lot of people like, oh, you know, I hate hdr because someone important said it looks like clowns, and then all you got to do is just take it and just reduce a little bit and then it doesn't, so you don't have teo really, really high on the on a saturation just cause you can and it really, when it comes down a time mapping it, it comes down to that, you know, just because you can move every slider doesn't mean you have to write so vibrance, the way vibrance works is it looks at the photograph and analyzes, and this is, you know, hey, what is already set, traded? And then if we increase saturation, maybe we shouldn't increase the areas that are already very saturated so much because otherwise those colors gonna clip and go out of gammon, meaning you can't reproduced them and you can't print them and you basically lose colors. Or what if we want to reduce the saturation? So we'll take the areas that a de saturated and reduce those so it works rather than a linear scale. It's, a little more intelligent, works on non linear scale, so if we play around with that, you can see if I tap the saturation notice you see that blues, they're starting to get affected more than the reds and the yellow sea that because the area was less saturated, but it's got color and s and now that's getting infected, mohr and you can see we're pushing it really high now that blue's going crazy and the yellows barely moved, and of course we go the other way. It will preserve these colors longer than the other ones, especially what vibrant status. So, depending on the look you want you, khun makes a match with color with the vibrance and the situation. So basically, you know, if we look at this, this is what we got before, you know, and and this is after just doing a little bit of basic term mapping here inside of photo shop. Now, if we wanted to increase our contrast because I said we don't get a lot of contrast, now would be a time when you could come in with the curve, just create a mild s curve just dropped down the shadows a little bit, increased the highlights, but I'm noticing coming back this way a little bit more, I'm not doing as far back as they would go snatch gumbo contest. I'm not going all the way up here because if you're noticing there's not so many pixels. In fact, in the brightest part, there's nothing and in a doctor's part there's nothing because we've got this massive space there that were not filling up fill the pixels so there's actually empty space. It either ends that's fascinating. So I've never actually seen that done quite that way before, but that's, how you choose is howto build your s curve in curves by the amount of the you pick a nice sweet spot, if you will with pixels exactly, you just find a good sweet spot. Yeah, exactly, and just pulled down the darks and pull up the whites depending where it is, you know you might experiment, we would across a little bit and see what you know, something looks better here, you know you just and wait around until you get it notice I'm going pretty hard on this isthe curve. It might not look hard to you, but if you're being using curves were very much that's, quite a tommy there's, a very radical adjustment because curves need to be treated very gently, and in a a standard dynamic range image, you might not be able to move them that much. Without blowing out details, see if I was using a regular image and I pulled it up that much, I'd probably be standing losing detail highlights so anyway, so that's the basic time mapping at that point, I would just simply click okay and in photo soap would convert that to a neighbour file and I'll be ready for more post processing. So that's just using the the basic photo shop once of what I'm going to do here is I'm going tio cancel that and now we're going to look at a couple of plug ins I'm going to go to right now just remember what we have let me just double check, we've got a thirty two bit found loaded now one of the things I do remember I'd like to do is choose the view thirty two bit preview options and notice it's moved now when did this move does made no or you know, I know when I opened it, it wasn't right maybe I opened it when I said the thirty two both file on dh sometimes is just ghosts in the machine, you know, sometimes they just and there's no reason, so if you reset it to zero one that's that's a very dark image actually under exposed this is probably not even the greatest hdr example, but you know what so much strange that it doesn't really matter so I'm just going to choose zero one click okay now I haven't changed the image at all all I'm doing is just changing the portion of the image of viewing because remember we've got this big space and I'm just moving it around second fit within my monitor so let's look at another tool here another time mapping till you know what I'm going to change the image out just because we've been looking this one for a while let's look for something a little variety how's that sound um so let's do a different one here why don't we look at this one here scrabbling in the chicago wants this one work let's pop this up and I'm just gonna choose open and hopefully that should work fine can I throw out a question there? Yes sir. We have questioned from the chat rooms asking about do you ever use thiss from annette de eyes really an advantage to doing tone mapping on a smart object um to do turn mapping on a smart object yes and no if you're working with the thirty two bit file inside of photo shop then at that point no unless unless you start to do some other adjustments and stuff like that and yeah but if you were working with the rule file then you definitely wanna smart object was in the roll fire will stay is rough okay, perfect. Thank you. Maybe we want to get back to camera. Roy, you just double click it and get back here. So what happens when I do the ones that already merged let's have a look here. So this is shining this size here, so these are thirty two nights. I don't know why I got this sixteen files. And there there we go. Normally what I do, by the way, which if I was to follow my own advice, I wouldn't really have that problem. That one works. Yeah, so here's a little thing I do is I usually do a underscore or a dash thirty two at the end. Then I know it's, a thirty two both file because you know, sometimes you can really time and I can look at me here and I can see it's a bit. Tips is thirty two, but I you know, if you're in like library it's, hard to tell. So a lot of the time I'll do that. I just do the underscore thirty two that I know it's. A pity to file.

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