HDR Cityscapes in Camera Raw
HDR. That's something you also is. Camaro is you have the ability to do hdr and I find some people don't like it. I love it because I find that the HDR in camera is very natural. So I'm gonna take the first photo. I'm going to select all three right click opening Camaro and semi D was Panorama. I'm not I'm not gonna You know, we touch one photo and then do the do the a g r first, and then you start your retouching so same workflow. You go here selectable, you go here. But instead of merger Panorama, you merge to HDR. And by doing this, what's gonna happen is this is another photo from that tripping. I'm young. Uh, what you doing by doing that is you're basically doing a super profile that's gonna have all three exposures it, So align image. I would always leave it on because even though I was gonna try, But they might be a slight movement and you got to be perfectly aligned, Oto tone. I never do it because I rather me tone the image and do the development, and de ghosting is off. The g...
hosting is basically and I have a whole other course we screened. Live on Natural is your where I go more in details about that. But the whole idea of the ghosting is when you have leave for people walking from one foot is there because even you taking three shops, the HDR is gonna do a little ghost effect that can be sometime. Not very nice. So you want to turn that? But in this case, I don't need it for this one. So I'm gonna click on merge, and it's gonna create a super woeful Could NGO, which is here. So it's just a raw file with the same information. But I and I got I have the normal exposure. I've got the over exposure where I got a lot of details in the shadows and I've got the under exposure where I got it. A lot of details in the highlights and in that sunset. So it's a super super camera profile. So now I'm ready to Ah, retouch this just It was a row file. Same workflow, but no one out of the shadows. I can have a lot of information bring on the highlights now. Now that's interesting. Usually when I do it. You are. I don't do minus 100. I used to, but I stopped it because, you see, it really gives, like, a little illustrative. Looked to the sunset. So on this one, I'm gonna go here again. I'm trying to get a more diffuse guy. Uh, I'm going to do my black point holding the option key. So the workflow is very similar. You know, I'm just going to show you and my white point here and let's look at the white balance daylight that it's kind of nice cloud is gonna be warmer. Shadi is gonna work now. I don't going to talk to this one. These two ones are for night. Photography is gonna be very blue if I go this route. So you don't want that? And this is for flash, which is is difference ing. So I'm gonna go to I don't know. I'm visiting between cloudy. Sorry. Until between daylight. So low blue or shade to go. Really? For a strong, You know, I think I'm gonna go for you know, I don't know. I'm gonna go for shade for now. I know. I like the contrast of blue win. But there's so much blue and yellow. But there's so much shelling this photo I want to add even more yellow and at even more magenta. I want to go for, like, a crazy sunset Sort of feeling. Okay, same sense of dozen before. So I'm gonna go here. Spot removal tool ups. Deletes If you didn't do it, writes, make it a little bit bigger. Speak a knowing spots and there's another one here. Make it smaller. Just that spot and the problem with this tool. Sometimes I like to descendant Photoshopped when you have too much. I like to infiltrate. It's kind of a slow tool because of of the known destructive workflow, sometimes a little slow. Okay. And, uh, I'm gonna clear here on the and to go back here to my add a bit of contrast with his photo matter. And usually when you add contrast, it adds saturation and makes you for a little under exposed. So sometimes I just like to bring back a bit of exposure when I do the contrast, and I'm gonna jump right into our local tools to make this photo pop even more, starting with Selena ingredient. Okay, I'm gonna go the other way. I want to close this photo and maybe sometimes what I do the new mines clarity again. I want to defuse this guy. And ah, click here on. You gonna do another one here. So this is an HDR photo. I think it's an interesting things. So there is some yellow there that I don't want actually Could Might even at some blue instead in the lower grade int again. I'm just trying to close the photo here, and, um voila. I'm gonna take the radio filter, make one big thing here, maybe add a bit of exposure, A bit of yellow and magenta really going for the crazy. Imagine a very strong sunset here, which is great, because I know it's an eight year and I've got all the information, the problems that you know, sometimes you see a great sunset and you take a photo and it's like either you got the sky right, and it's very saturated and very red or and new buildings are black or the reverse your skies completely white and the buildings are probably exposed. Was this technique you know, you have a photo for the building, which is your very exposed photo and you have a photo for the sky which is under exposed photo. So that is the best of three wells is actually closer to humanize. I believe one reason people sometimes find HDR kind of weird is because they it's like, I remember when I was a kid the first time I saw a color TV, you know, you go from black and white to color. It looks fake at first, but then you get used to it, you know? And I think you know, it's also like when the new TV is a 60 Hertz TV, the full HD Super one billion color. You see, it looks like odd. I like to have the old TV used to look, you know, weasel, the bath collars and everything is also you know, it's it's a cultural thing, but you see more and more this type of images. So I want to break. I want to break the tones here on that church. I'm gonna make this smaller and I'm going to take out the yellow a theoretical but as much yellow and magenta on this one. This one at a bit of exposure, all right. Okay, maybe one here just to shine even mawr. And so a lot of people ask me like Abou how do you decide where you dodge? You look for even tones. You look for things in your photo, which are the same brightness, and you break that. That's how that's why you do it like that, that the brick wall has the same tones. I mean, don't overdo it. But, you know, you know, the good thing about Europe and stuff like that is we got great texture. I mean, this bridge is probably 200 years old, you know, are even more and so it's interesting to ages, you know, shows the texture a little bit again before, after before, after and ah, all right, One thing having nominees for that I want to show you is the the transform panel, which is I've always are hard time to find it in. Where did it go? Transformed trans words here. Okay, because I'm used to like him, so this tool is pretty amazing. You got this new option called a pride. If you click here on the A is going to do his best to just put the horizon straight. So I showed you before, After before, After. So sometime YSL you need we'll see different project where we need more. But, you know, this is kind of straight and this whole thing was kind of crooked anyway, so I'm like, Oh, and let me show you the before. So that's before we touching. And that's after a slight change. Okay. Yeah. Randall, you're going to shoot a scene as an HDR versus just an under explodes photo that you re touch. Great question. One simple answer. Whatever is, the sun is in the frame. So you see this This is the end of the sunset Sundays and frame. So whenever the sun is in the frame, I should hdr if it's a little bit out of the frame. One photo, because I have this 27 are, too. That's got amazing role fouls. And so there's a lot of dynamic ran show I feel, and it just, you know, makes a lot of space and all things. So, yeah, just when the sun is in frame and that was the case for this photo. Even so, it's it's here. It's kind of feeding bits there. Uh, well and so on this one, I want to keep it as a role file. So I'm gonna opening Photoshopped sponsor, But I don't have anything to do first. I'm kind of happy with what I did here, So I'm just going to click your done When you click on Don, you go back to a bridge and bridges gonna update the retouch which is here. So now your profile is we touch And if you change your mind about the white bones, I'm like, uh, you know, I want to be Maybe I want to go a little more blue here and I want to go back to daylight. You totally can on this one. I didn't do the sharpening, which I wouldn't know many do, you know, But I just want to show you something that that's the daylight, which I kind of like, you know, blue to yellow, but you know, or shade which is warmer, you know? Then it's just really depends on my mood. There's no you know, sometimes I'll no, this is too warm. I'm putting it back Blew in and 20 Mr Although it's too blue, it's a struggle for aesthetic