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Adjusting the HDR preview

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Adjusting the HDR preview

All right, let's take a look at how we change the preview of our 32 Bit HDR file that we created from three auto-bracketed exposures using the Merge to HDR function here inside Photoshop CS3. But before we do I should go ahead and save off this file so that you can open it up if you need to, if something went wrong on your end. So let's save it. You might want to save it along with me if everything went right on your end. Go up to the File menu and choose the Save command, I bet you knew that part.

Adjusting the HDR preview

All right, let's take a look at how we change the preview of our 32 Bit HDR file that we created from three auto-bracketed exposures using the Merge to HDR function here inside Photoshop CS3. But before we do I should go ahead and save off this file so that you can open it up if you need to, if something went wrong on your end. So let's save it. You might want to save it along with me if everything went right on your end. Go up to the File menu and choose the Save command, I bet you knew that part.

But here is the interesting news which is the file formats that are available to you. Typically you are going to work with one of two file formate where HDR images are concerned. You can use TIFF if you want to so I guess one of three formate. But most likely you are going to use a native PSD format especially if the image has layers. If you have a 32 Bits/HDR file that has layers associated with it or Alpha Channels that kind of thing, then you are probably going to go with the Photoshop format. If you are looking for a wider compatibility with other applications that support HDR out there and there are some amazing HDR applications, then you are probably going to want to go with the Radiance format which ends with a .HDR extension. And so that's the way I am going to save this particular file, because it doesn't have any layers. And I am going to go ahead and call this, Houseboat 32-bit.hdr. So if you want to go ahead and open the file along with me here then you can. That's going to be the name of the file. It will appear in the 17_16bit_HDR Folder. I'll go ahead and click on the Save button.

Now this is going to be a big file incidentally. I am going to go down here to the right pointing arrowhead and I am going to switch over to Document Sizes, and you can see that is 90 Megs in memory. It's about 23 Megs on disk incidentally this HDR file is. All right, so having saved it which is of course a good idea, now we are going to switch this option back to where it was a moment ago, 32-bit Exposure. And notice that you have this little slider. It's only applicable to 32-bit HDR files. And you can actually change the Exposure of the photograph. If you drag to the right you are going to elevate the Exposure, you are going to make the image lighter, and if you drag to the left you are going to reduce the Exposure and this is strictly a preview function down here. And so you can see how your preview is changing on-screen.

The problem with this function, one of the rather confusing things about it is it's actually applying this Exposure function, this additional Exposure function that works on top of the preview. And so it doesn't update the thumbnail inside of the Layers palette or inside of the Channels palette. So those thumbnails and I actually think that Navigator palette let me check that out also the Navigator palette suffers. So all of these thumbnails are showing the original preview setting. And if you want to change that then here is what you do. You might want to go ahead and reset your Exposure to the middle. It doesn't matter where you set this Exposure by the way. You aren't actually modifying the pixels for real, because bear in mind as they are moving through these walls to other chairs it's really pretty much impossible to mess up the image using this Exposure slider incidentally.

Go up to the View menu, this one is strictly a preview setting so it can't harm the file. And you choose 32-bit Preview Options. And this will update all previews including the thumbnails. Notice that the Exposure is really cranked +6.67 that's a huge Exposure modification. I am going to go ahead and change the Exposure value to 0, and I am going to reset the Gamma to 1 as well, just so that we have just baseline settings for this particular image. Notice that the thumbnails did update, Navigator palette, Layers palette in the Channels palette as well, and I'll click OK in order to accept this new preview.

Now we can use this Exposure slider down here to test the highlights and shadows once again to see whether you really have as good the highlights and shadows as you thought you did in the previous dialog box back in the last exercise? Or whether in our case things are even better than we thought. So I am going to increase the Exposure so that I can see the shadows disappear and see exactly how much we have in a way of shadows and we've got perfect shadows look at those just disappear off there, and I might as well go ahead and zoom in on this image just so that we can really check it out in detail.

So I am not suggesting for a second that we leave this slider in this position, we are just using it to see where our shadows are. And you can see that things get pretty noisy in the darkest shadows there. But that's fairly to be expected by the way. All right, now let's go check out those highlights in the upper left corner of the image. As long as I've got my Navigator palette open, I am going to click in the upper left corner of that Navigator. I am also going to get myself a little more vertical room for this palette so I can move around a little more easily there. Here is the sky, right now it's very hot. Let's go ahead and move that Exposure value down. And yeah this looks pretty -- we are missing some highlights right in this location you can see that we are going from having white hot highlights there to the highlights now sort of disappearing into the light grays.

But we do have some banding right there so we have -- but essentially these light gray clouds in this case flattening out in this region right here. So there is not really any sculptural detail in this portion of the clouds. But we do have some nice gradients going after this point right there. So that's pretty good. I think things are working pretty well in our favor. If we have a little bit of hotness then we have a hotness, what can we do? All right, so that's just that's all about previewing the image, the HDR image here inside of Photoshop. In the next exercise we are going to start to correct the image so that we have some nice warm wonderful detail down here in the boat area so the boat is reasonable light and we still manage to retain this wonderful sky action up here in the upper left-hand portion of the image.

Please join me.

Show transcript

This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26575 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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