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In Photoshop CS5 New Features, author Jan Kabili introduces new features and productivity enhancements that include reshaping images with Puppet Warp, turning photographs into paintings, and Content-Aware Fill options. The course examines CS5 enhancements to existing features include significant improvements to High Dynamic Range (HDR) photo processing, selection and mask edge refinement, and lens-related photo corrections. A brief overview of companion applications, Adobe Bridge CS5 and Adobe Camera Raw 6, is included. Exercise files are included with the course.
Photorealism isn't the only look that I can get in the Merge to HDR Pro dialog box. Alternatively, I can set these controls for the popular new surrealistic look that you see in a lot of HDR imaging. To do that I'm going to go back to the Preset menu and I am going to choose from one of these surrealistic choices here. I'll try Surrealistic high contrast, and that will change over the settings here on the right and change the look of the preview. As before, I can tweak the settings to taste, and so if I want a more hyperrealistic look to this image I'll usually go to the Detail slider and drag that all the way over to the right.
And then I'll go up to the Radius and Strength sliders, which I can use to add some glows around the edges of the image. I'll try dragging the Radius slider to the left a bit to control the size of the glows and I dragged the Strength slider to control the contrast of the glows. I'm also going to go to the Gamma slider and drag that to the right to reduce the overall contrast in the image. And I could play with these other sliders as well or come down to the curve and add more points to it. Notice that the points that are currently there are corner points, which add a more extreme look to the image.
To make a corner point, I'll click on the curce and with that point selected on the curve I'll go down to the Corner command and click its checkbox and then I can click and drag on that corner point to increase the hyperrealistic look of this merged image. One of the advantages of HDR imaging is that in an HDR file can be as big as 32 bits, giving you lots of information to work with. By default, the Merge to HDR Pro dialog box, will downsample the image to 16 bits. So if I want a 32-bit image I'll come to this menu and choose 32-bit.
Because the dynamic range of a 32-bit HDR image is so wide that a standard computer monitor can't display the whole thing, here I can adjust the preview that's displayed on my monitor to show a particular slice of that dynamic range. So I might move this slider over to left a bit to view a brighter part of the image's dynamic range. I'm going to click OK in order to create my final HDR image from my three source files. The HDR image opens in Photoshop and you can see from its tab that it is a 32-bit image.
Here in Photoshop, I can continue to work with this HDR image to get it to look just the way that I want. However, I need to be aware that because it is a 32-bit image, not all of the tools and commands of the available to me. For example, I could apply at the Brush tool to this image. I cannot apply the Spot Healing Brush tool or the Dodge tool, or the Burn tool or other commands. When I'm done correcting the image in 32-bit, I'll downsample it to 16 bit by going up to the Image menu and choosing Mode and 16 Bits/Channel.
I'd like to thank photographer and Photoshop author Mark S.Johnson for the three images of the church. Now I'd take you back into the Merge to HDR dialog box with another set of images to show you another exciting new feature in HDR processing in Photoshop CS5. So I'll go back to Bridge, these three images of cars moving on a freeway, and then I'll go to Tools > Photoshop > Merge to HDR Pro again. Here in the Merge to HDR Pro dialog box you can see a classic problem of HDR imaging.
When there are subjects moving in any of your source photos, you're likely to see ghosted translucent images like those you see here, and the problem can be as extreme as it is with moving traffic on a freeway or as subtle as the wind blowing through the leaves of a tree. Fortunately in Photoshop CS5 Adobe has come up with a way to eliminate these ghosting effects to subject movement. And that is simply to go to the Remove Ghost command which appears here in the 32-bit view, or oif I go back to the 16- bit view here as well, and put a checkmark there.
Now keep your eye on the cars as I do this. In just a moment most of the tranceluscent ghosting is gone. To do this, Photoshop is giving priority to one of merged photos, the photo whose thumbnail has a green box around it. But I love about this feature is that I can control which of these shots has priority. So if I want different content in the de-ghosted image, I can just click a different thumbnail here in the Merge to HDR Pro dialog box. So I'll try that now and keep your eye on the cars as I do and you see that there is now different content there or if I click on this photo, I get yet another look to the merged de-ghosted image.
As you've seen there have been some major improvements in the HDR workflow, the controls available to you in HDR including all the new sliders and the ghost removal feature, and the style of HDR image you can easily produce, from photorealistic to hyperrealistic, really expanding the usefulness of HDR imaging in Photoshop CS5.
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