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Photoshop CS5: Landscape Photography
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HDR + LDR


From:

Photoshop CS5: Landscape Photography

with Ben Long

Video: HDR + LDR

We went to a lot of work with this image to solve a problem that's inherent to a lot of HDR images, and that is this low contrast problemm or this just even, dull tonal problem. Out of HDR, because it was able to pull good tone for so many pixels, we end up with an image that's a little flat. And so we went through, and we painted in light, and we painted in brightening, and we painted in darkening. And that works great, but there is something to bear in mind. We did a lot of work to restore good contrast to this foreground.
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  1. 3m 14s
    1. Welcome
      1m 44s
    2. Using the exercise files
      1m 30s
  2. 46m 35s
    1. Defining landscape photography
      2m 23s
    2. Considering cameras and gear
      10m 41s
    3. Shooting and composition tips
      6m 39s
    4. Why you should shoot raw instead of JPEG
      4m 25s
    5. Making selects
      10m 42s
    6. Understanding the histogram
      6m 53s
    7. A little color theory
      4m 52s
  3. 1h 14m
    1. Opening an image
      4m 42s
    2. Cropping and straightening
      9m 56s
    3. Nondestructive editing
      6m 23s
    4. Spotting and cleanup
      3m 53s
    5. Cleaning the camera sensor
      11m 17s
    6. Lens correction
      6m 26s
    7. Correcting overexposed highlights
      7m 29s
    8. Basic tonal correction
      5m 45s
    9. Correcting blacks
      11m 54s
    10. Correcting white balance
      6m 35s
  4. 21m 34s
    1. Performing localized edits with the Gradient Filter tool
      7m 24s
    2. Performing localized edits with the Adjustment brush
      7m 54s
    3. Controlling brush and gradient edits
      6m 16s
  5. 16m 34s
    1. Working with noise reduction
      5m 33s
    2. Clarity and sharpening
      5m 23s
    3. Exiting Camera Raw
      5m 38s
  6. 58m 5s
    1. Retouching
      8m 23s
    2. Using Levels adjustment layers
      10m 59s
    3. Saving images with adjustment layers
      4m 18s
    4. Advanced Levels adjustment layers
      9m 36s
    5. Guiding the viewer's eye with Levels
      8m 48s
    6. Using gradient masks for multiple adjustments
      5m 32s
    7. Correcting color in JPEG images
      3m 15s
    8. Adding a vignette
      3m 25s
    9. Knowing when edits have gone too far
      3m 49s
  7. 33m 24s
    1. Preparing to stitch
      5m 59s
    2. Stitching
      7m 39s
    3. Panoramic touchup
      7m 17s
    4. Shooting a panorama
      4m 58s
    5. Stitching a panorama
      7m 31s
  8. 27m 18s
    1. Shooting an HDR Image
      7m 53s
    2. Merging with HDR Pro
      11m 52s
    3. Adjusting and retouching
      7m 33s
  9. 24m 4s
    1. Why use black and white for images?
      2m 26s
    2. Black-and-white conversion
      7m 13s
    3. Correcting tone in black-and-white images
      7m 38s
    4. Adding highlights to black-and-white images
      6m 47s
  10. 49m 32s
    1. Painting light and shadow pt. 1
      11m 22s
    2. Painting light and shadow pt. 2
      12m 42s
    3. Painting light and shadow pt. 3
      9m 19s
    4. HDR + LDR
      5m 7s
    5. Reviewing sample images for inspiration
      11m 2s
  11. 48m 2s
    1. Sizing
      9m 8s
    2. Enlarging and reducing
      5m 3s
    3. Saving
      1m 24s
    4. Sharpening
      8m 23s
    5. Outputting an electronic file
      9m 4s
    6. Making a web gallery
      4m 17s
    7. Printing
      10m 43s
  12. 20s
    1. Goodbye
      20s

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Photoshop CS5: Landscape Photography
6h 43m Intermediate Jul 13, 2010

Viewers: in countries Watching now:

In Photoshop CS5: Landscape Photography, Ben Long outlines a full, shooting-to-output workflow geared specifically toward the needs of landscape photographers, with a special emphasis on composition, exposure enhancement, and retouching. This course also covers converting to black and white, using high-dynamic range (HDR) imaging techniques to capture an image that’s closer to what your eye sees, and preparing images for large-format printing. Learn to bring back the impact of the original scene with some simple post-processing in Photoshop. Exercise files are included with the course.

Topics include:
  • Getting the shot: landscape-specific shooting tips and tricks
  • Choosing the right equipment
  • Cropping and straightening images
  • Making localized color and tonal adjustments
  • Reducing noise
  • Guiding the viewer’s eye with localized adjustments
  • Adding a vignette
  • Using gradient masks to create seamless edits
  • Approaching adjustments like a painter–thinking in light and shadow
  • HDR imaging
  • Creating panoramas: shooting and post-processing techniques
Subject:
Photography
Software:
Photoshop
Author:
Ben Long

HDR + LDR

We went to a lot of work with this image to solve a problem that's inherent to a lot of HDR images, and that is this low contrast problemm or this just even, dull tonal problem. Out of HDR, because it was able to pull good tone for so many pixels, we end up with an image that's a little flat. And so we went through, and we painted in light, and we painted in brightening, and we painted in darkening. And that works great, but there is something to bear in mind. We did a lot of work to restore good contrast to this foreground.

If I go back to my original image, well, this foreground already has good contrast in it, but the problem with this image is it's got a bad sky. But what if we took this image and merged the foreground with our nice HDR sky? Would that give us a result that's a little bit easier to achieve than doing all of this painting? Maybe, maybe not. Let's take a look and see what happens. The way I'm going to do this is, in Bridge, I'm going to open up just this first image, which of course is going to open Camera Raw. I'm not going to worry too much about setting my tone, because I think the foreground looks pretty good.

This highlight clipping is happening in the sky, and we're going to loose the sky anyway. So I'm going to open this image as a 16-bit file. Camera Raw will process it. Now I'm going to select all with Command+A and Copy. I can now go and paste that into the other image. There's another way I could do this. In the Layers palette, I can go to this menu and choose Duplicate Layer and tell it to put it in Drakensburg Merged.psd. And now what I end up with is this.

This is that LDR, Low Dynamic Range image, sitting here as a layer. I'm going to drag it down here, so that it's just above my HDR image. So this is the original source image. That's the HDR version. As I turn this off and on, you can see that - a couple of things here. Obviously, better sky here, better foreground here, but they're not registered. Fortunately, Photoshop can take care of that for us. Holding down the Shift key, clicking on the Background layer, now both of these layers are selected.

If I go to the Edit menu and choose Auto -Align layers, put it in Auto mode and hit OK and just let it think for while, it's going to align the layers for me. This is the same algorithm it uses during its HDR merge. And note, it's kind of cool to see what it did. It needed to do a little bit of rotation, it looks like. And it translated it a little bit, but now look what happens if I turn off the foreground layer. There is no movement. Obviously, the telephone wires are coming back. That's fine. We'll paint those out later. So these are perfectly aligned.

I'll need to crop it at some point. I'm not going to worry about that now because I want to see if this technique is even going to work. So what I need now is to merge the foreground from this image with the sky in the background. I'm going to do that, obviously, with a layer mask. Content layers don't, by default, have a layer mask attached to them. So I'm going to select this layer and go up to Layer and choose Layer Mask. I'm going to tell it to Reveal All. That gives me a layer mask that's white, meaning every bit of this layer is visible.

And you should know the next bit by now. I'm just going to create - with this layer mask selected, notice I can select here or here. If I select here then I'm painting into the image. That's data actually going into the image. If I paint here, I'm painting into the mask. And that's revealing the image that's down below. What I want to do is a gradient from maybe here to here. And looking here, now I have got my foreground Low Dynamic Range Image with good contrast and my HDR sky.

So that's pretty cool. I can't really see the seams of my mask. It's as they were in last lesson there, obscured by all of this haze back here. So that's good. Let's have a look now at some of our other adjustments, because since all of this stuff has properly registered, all of this painting fits fine on top of either layer. You can now think of these two layers as being our single image layer. So the next we did was we improved the contrast overall. Well, I don't know that we need it that aggressive because this image was already contrast-y to begin with.

I'm going to skip that one for now, or actually, no I'm going to adjust - oops! I'm going to adjust this one for now. Let's back off that black point a little bit. I like it a little contrast-y. It's hardly anything, all right. So our next layer was painting and highlights. And I like that. That actually still works on the Low Dynamic Range image. And then we brightened the foreground. That's looking a little too bright to me. Let's leave that off for now, and let's darken the sky. So I'm not sure which is the way to go.

We'd need to look at them side-by -side and just make a decision. And that's the kind of decision you're going to want to make on paper because these images are going to change a lot when they print. But still, there will be times when the easiest way to correct the contrast in an image is to pull as much as you can from one of your original source images. And thanks to the Auto-Alignment tool, it's very easy to stack up layers that way.

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