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Fusing multiple images

From: Up and Running with Photomatix Pro

Video: Fusing multiple images

Another way of using HDR is an Average Workflow. And we'll merge to fuse. This was taken from a tripod, And I want to take a look at some of my fusion methods here.

Fusing multiple images

Another way of using HDR is an Average Workflow. Perhaps you shoot bracketed, not to create a truly high-dynamic range look, but to just safely capture the entire range of the scene. So, in post production, you have some flexibility to put the pieces together. Here's how. Let's select this whole scene here of Independence Hall. And you see I've exposed to really cover the whole range from the outdoor window to the bright interior. We'll open that with Photomatics, And we'll merge to fuse. This was taken from a tripod, And I want to take a look at some of my fusion methods here.

Let's start with the Average method. One thing you'll notice is that this method really has no choices. It's simply averaged out the exposure value of the entire scene. So it looked at that entire dynamic range and it averaged the values together. Into a single image. This is a great way to create a noise-free image that's based on a variety of input sources, but there's only so much you can do with the average method. You'll notice there aren't even presets because again, there is no setting for average.

Okay. You probably didn't merge those together to have no choices, so let's take a look at something else that's related to Average. The Average Auto is going to take a look at those images and attempt to create a better image based on the best parts. You'll note, as we switch between those, that the Average Auto did a better job of preserving some of the brighter reflections But brought back some of the details that were getting blown out. Pretty straightforward and relatively useful, but what I want to show you here is really the ability to fuse just two images together.

You can shoot the entire bracketed set, and then pick which two images are going to be blended. This works pretty well to solve a problem, which is showing what's happening outside the window and inside with the action. Let's switch to the 2 Image method. Because I have chosen too many images, you'll see that it asks me to basically select two from the list. Now, I'm going to take one of my really dark ones here Right about there in fact, so the windows come into play. And then, let's go in and grab one of mid-tone images.

That's a little bit dark so I'll go right about there. That's looking pretty great actually. I'm able to see inside of Independence Hall And outside. And before any of you ask, why didn't you just turn on the lights, or try to balance the exposure, there is no electricity in Independence Hall. This is an old, historical monument, and I needed to work with the available lighting that I had, and quickly get the shot. So I like this method here. We're able to see outside the windows. That seems pretty natural there. It's hard to decide between which two methods, but I think I like that there.

I'll go with a little bit more underexposed for the windows, and for the interior we'll slightly overexpose and click apply. And then let's just add a little bit of contrast back in. That makes the blacks nice and crisp, I can play with the overall light there. There we go. Looks pretty good. And let's just bring out a little bit of cooling with the blue. And drop that down. That looks great. And I managed to successfully capture the entire dynamic range. Those three fusion methods are all very similar, and are very useful when you have multiple images.

You could choose to combine them just to get the average value, or you could fuse particular images to get a perfect image, where you shot for basically two situations. But here's the good news, you actually have one more method that we're going to look at next, which is the ability to fuse a single raw file.

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This video is part of

Image for Up and Running with Photomatix Pro
Up and Running with Photomatix Pro

50 video lessons · 2267 viewers

Richard Harrington
Author

 
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  1. 2m 48s
    1. Welcome
      1m 40s
    2. Using the exercise files
      1m 8s
  2. 15m 12s
    1. Loading from a folder
      1m 41s
    2. Loading from Lightroom
      4m 19s
    3. Loading from Aperture
      1m 45s
    4. When to load raw files
      3m 2s
    5. When to load preprocessed files
      4m 25s
  3. 38m 3s
    1. Aligning source images
      4m 5s
    2. Removing ghost images with automatic deghosting
      4m 21s
    3. Removing ghost images with selective deghosting
      6m 40s
    4. Reducing noise
      2m 36s
    5. Reducing chromatic aberration
      6m 16s
    6. Choosing the color primaries and white balance
      2m 57s
    7. Working with single files
      2m 53s
    8. Working with single raw files
      8m 15s
  4. 27m 40s
    1. Working in Unified or Floating mode
      3m 26s
    2. When to use Tone Mapping
      3m 15s
    3. When to use Exposure Fusion
      2m 48s
    4. Adjusting the preview window
      2m 35s
    5. Working with presets
      4m 52s
    6. Add finishing touches
      4m 48s
    7. Saving the image
      3m 45s
    8. Redoing the image with other settings
      2m 11s
  5. 20m 2s
    1. The Details Enhancer workflow
      6m 21s
    2. The Contrast Optimizer workflow
      3m 50s
    3. The Tone Compressor workflow
      3m 53s
    4. The black-and-white workflow
      5m 58s
  6. 27m 3s
    1. The Fusion/Natural workflow
      4m 32s
    2. Exploring the Fusion/Real Estate workflow using photos taken outside
      7m 2s
    3. Working with Fusion/Real Estate workflow using photos taken inside
      2m 54s
    4. The Fusion/Intensive workflow
      2m 54s
    5. Fusing multiple images
      4m 5s
    6. Fusing a single image
      2m 22s
    7. Comparing methods
      3m 14s
  7. 40m 31s
    1. Removing color casts
      5m 15s
    2. Removing tough ghosts
      2m 54s
    3. Replacing a selection with a source
      6m 29s
    4. Refining performance with preferences
      6m 5s
    5. Automating with batch processing
      11m 8s
    6. Photomatix Pro and color management
      3m 12s
    7. Post-process in Photoshop
      5m 28s
  8. 40m 2s
    1. Challenge: Preserving original color and applying contrast
      2m 26s
    2. Solution: Preserving original color and applying contrast
      5m 20s
    3. Challenge: Creating a feeling within an image
      2m 10s
    4. Solution: Creating a feeling within an image
      9m 58s
    5. Challenge: Creating the look of a digital painting
      2m 18s
    6. Solution: Creating the look of a digital painting
      5m 53s
    7. Challenge: Help a subject stand out from the background
      2m 3s
    8. Solution: Help a subject stand out from the background
      9m 54s
  9. 1m 4s
    1. Final thoughts
      1m 4s

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