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Using Tone Compressor in Photomatix

From: Shooting and Processing High Dynamic Range Photographs (HDR)

Video: Using Tone Compressor in Photomatix

I am here in Photomatix. I still have my process set to Tone Mapping. I'm going to reset down here by hitting the default button to get my settings back to normal, because I want us to look at the other Tone Mapping method. I'm going to change this method pop- up menu from Details Enhancer to Tone Compressor, the other option, and right away my image changes. Now as I mentioned before, this is still a tone mapping process. It's still cherry picking tones from that big 32-bit mess of data and putting them down into a smaller 8 or 16 bit data space, but it's doing it in a way that yields and image that's a little less HD-yR and more like a normal photograph.

Using Tone Compressor in Photomatix

I am here in Photomatix. I still have my process set to Tone Mapping. I'm going to reset down here by hitting the default button to get my settings back to normal, because I want us to look at the other Tone Mapping method. I'm going to change this method pop- up menu from Details Enhancer to Tone Compressor, the other option, and right away my image changes. Now as I mentioned before, this is still a tone mapping process. It's still cherry picking tones from that big 32-bit mess of data and putting them down into a smaller 8 or 16 bit data space, but it's doing it in a way that yields and image that's a little less HD-yR and more like a normal photograph.

I have got shadows that are punched in the darkness here. I don't have overexposed highlights, but my overall tonal relationships are a little more like a normal photo. So let's take a look at the controls that we have here and see how we can adjust this. Brightness, Tonal Range Compression and Contrast Adaptation, I am grouping these together, because these three sliders really work together to adjust overall brightness and contract. I am going to crank up the brightness here because this image is too dark. I can tell that just by looking at it, which is a pretty easy way of telling whether it's too bright or too dark, but I've also got my histogram over here.

So I'm keeping an eye on my whites, making sure they're not over exposing too much. And I'm trying to get this blob of mid- tone data up to be a little bit brighter, shows some of the stuff over here. So it's just an overall brightness adjustment. However, note that it is respecting my black point. It's mostly a mid-tone adjustment. It didn't wash out my shadows, and it also did a pretty good job of respecting my white point. It didn't blow out my highlights. Tonal Range Compression is for all intents and purposes a contrast adjustment.

It's doing something much more complex than simple contrast. It's changing the way that tones from that big 32-bit space are compressed into the smaller data space, but the overall effect is a contrast change. Contrast Adaptation is a lot like a saturation adjustment. It's going to let me put more saturation into my image and I get a little bit of brightening in that process. So these three controls work pretty well together. I want to try and get a little more contrast back into my skies, so I'm going to drop my brightness down, so that I can fiddle with my Tonal Range Compression here, get that stuff looking a little better, and then brighten the whole thing back up again, maybe back off from this little bit.

I also have White Point and Black Point, which are additional controls that I can use for brightening and darkening my image. Again, these sliders are not working in real time. I have to let go of them before I see their effect. This image doesn't really need a black point adjustment. I am clipping my black point already. So you can think of these as, again, just like the White Point and Black Point in the Levels dialog box of an image editing program. One difference for you Windows users, here on the Mac, the White Point scale goes to 10 and on Windows it only goes to 5, but the actual effect that's being applied by either extreme is the same.

So don't worry if you're seeing different numbers in this video. The control works the same and you can get the same effect that I'm getting here. And I'm just filling with all three of these in concert, trying to get overall brightness good but still have some contrast in the image. Color Temperature is just what you think it is. It adjusts the Color Temperature of the image, lets me warm it up or cool it down. And then Color Saturation is just a saturation adjustment and you may be saying, well, you've said earlier that Contrast Adaptation is a saturation adjustment. Well, Contrast Adaptation is making some contrast changes.

It's also giving you a bit of a saturation adjustment. Color saturation is truly just a full-on saturation adjustment. I don't want it quite that much. We have adjusted this image and you may think, well, that doesn't really look like an HDR image to me, but let's go back to Bridge for a minute and look at one of our original exposures. Here's the shot as the camera wanted to expose it and you can see I don't have a lot of detail in here. I got pretty good detail in there, and my underexposed one, I picked up a little, and these have gone pretty dark. And then back here, you see that I've good detail in here.

This was looking a little bit like the underexposed image, but I've got better color saturation throughout and better detail throughout. So the Tone Compressor method of the tone mapping process is going to give you expanded dynamic range, but without that super HDR look.

Show transcript

This video is part of

Image for Shooting and Processing High Dynamic Range Photographs (HDR)
 
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  1. 6m 46s
    1. Welcome
      2m 0s
    2. What you need for this course
      2m 37s
    3. Using the exercise files
      2m 9s
  2. 24m 55s
    1. Dynamic range defined
      4m 31s
    2. Understanding bit depth
      3m 37s
    3. Image sensor and shadows
      2m 38s
    4. Three methods for capturing more dynamic range
      3m 56s
    5. HDR shooting and processing
      4m 40s
    6. Single-shot HDR
      2m 43s
    7. When to use HDR
      2m 50s
  3. 19m 59s
    1. Finding HDR subject matter
      4m 38s
    2. Shooting HDR
      9m 45s
    3. Workflow and organization
      5m 36s
  4. 17m 52s
    1. Using gradient masks to improve dynamic range
      3m 56s
    2. More dynamic range masking
      8m 57s
    3. Masking with brushes
      4m 59s
  5. 1h 35m
    1. Creating an HDR image in Photoshop
      12m 15s
    2. Creating an HDR image in Photomatix
      22m 5s
    3. Creating an HDR in HDR Efex
      11m 47s
    4. Merging in Photoshop and processing elsewhere
      3m 51s
    5. Using Tone Compressor in Photomatix
      4m 25s
    6. Using Exposure Fusion in Photomatix
      7m 35s
    7. Single-shot HDR images in Photomatix
      4m 18s
    8. Single-shot HDR images in HDR Efex
      1m 3s
    9. Single-shot HDR images in Photoshop
      5m 32s
    10. Ghosting and Photoshop
      2m 51s
    11. Ghosting and HDR Efex
      2m 47s
    12. Ghosting and Photomatix
      6m 36s
    13. Batch processing in Photomatix
      10m 51s
  6. 2h 9m
    1. Reducing noise and correcting chromatic aberrations
      13m 33s
    2. Finishing an image
      8m 42s
    3. Handling HDR images that are "flat"
      13m 37s
    4. Combining HDR and LDR
      19m 40s
    5. Selective editing with HDR Efex Pro
      9m 42s
    6. HDR that doesn't look like HDR
      12m 42s
    7. Tone mapping troubles to watch for
      6m 46s
    8. Why use HDR for black-and-white images?
      5m 26s
    9. Black-and-white HDR
      12m 39s
    10. Panoramic HDR
      12m 3s
    11. HDR time lapse
      4m 24s
    12. Processing the trestle image
      10m 1s
  7. 37s
    1. Goodbye
      37s

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