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The Tone Compressor workflow

From: Up and Running with Photomatix Pro

Video: The Tone Compressor workflow

There's a very subtle method for Let's chose the tone compressor method for a And so, by using these different methods, we're able to balance this out.

The Tone Compressor workflow

There's a very subtle method for tone compression called tone compressor, and essentially it doesn't do some of the selective contrast that the other methods do. But it does have a couple of technical benefits, mainly that it doesn't tend to add much noise, and it avoids some of the halos that are often considered problematic. Let's see how it works. So with the contrast optimizer here, or details enhancer, you may notice that we have a bit of a glow. Now of course there is the neon glow here, but on those edges you tend to see some halo effects.

Particularly there on the high contrast area. And as you increase the strength, it only gets worse. This is something that many people considered bad with HDR, and it can be a bit over the top. Let's chose the tone compressor method for a second, and stick with the tone compressor presets. We'll fit the image there and essentially there are three choices for presets. I really like this for black and white photography. It becomes very clean.

But even with the photographic preset, it's quite nice. If we look at the original image here, you'll notice that it was a bit difficult to get those trees in the shot. And so, by using these different methods, we're able to balance this out. Alright. Let's switch back, and we'll stick with the tone compressor method. Essentially, you have the ability to adjust the overall brightness, and it's using that wider range of detail through all the photos to help you achieve the brightness that you want.

You then have the ability to compress tone. And to play with the overall contrast. Look at some of the shadowy areas there and how those behave. Alright, that's looking pretty good to me. I'm going to play with the white clip there and you see that it brings up the brightness of the whites, as well as the ability to clip blacks. Now that's just destroying the tree there and I pushed it too far. So you want to be very careful with clipping that you don't take it too strong. And then of course, do you want the colors super rich or bit more subdued? Sometimes a subtle chromo look could be attractive, but with all this neon, I'm going to actually bump that up a bit and play with the color temperature.

Notice there, by cooling that down, it takes on more of the feeling of night time. Before. After. Well, that merge definitely brought things in, but no additional noise. Let's go ahead and move that around a little bit. We'll go to an area that should be pretty much in focus. There we go. And as we've played with those methods there, we're not introducing any noise or halo effects, which is great. This is one of the major technical benefits of using the tone compressor method. Let's save that out, and then we'll just finish the file.

Put a little bit of contrast in. There we go. And this is a great opportunity to take advantage of these color sliders. Note that you could pop individual colors, a little bit of red, back the orange off so that tree picks it up. Little bit of green there, and the aqua, and the blue, looks good. And you just refine it. That looks great, I'm going to strongly sharpen that so we get some great detail. Let's zoom in for a second. And that sharpening is looking really good. And, we can click Done. And then save our image.

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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 · 2233 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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