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Photoshop CS5 One-on-One: Mastery
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HDR Toning vs. Shadows/Highlights


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Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: HDR Toning vs. Shadows/Highlights

Now, those of you who have been with me for the few 100 movies it's taken us to get to this point, you'll recall that this is not the first time I've showed you how to create a faux HDR effect inside of Photoshop. In fact, we spent a considerable amount of time in Chapter 17 of the Advanced portion of the series, as well as Chapter 30 in the Mastery portion here, discussing how to create, essentially, faux HDR high-luminance effects, using the Shadows/Highlights Filter. So I figured at least for the sake of comparison, especially since that filter is so much easier to use and doesn't require you to switch between color spaces and flatten off your entire composition and go searching through the History panel for a source state, because it's a more elegant process, how does Shadows/Highlights hold up against HDR Toning and vice-versa? So I've gone ahead and saved the results of the previous exercise as Toning curve adjustment.psd, found inside the 33_HDR_pro folder.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

HDR Toning vs. Shadows/Highlights

Now, those of you who have been with me for the few 100 movies it's taken us to get to this point, you'll recall that this is not the first time I've showed you how to create a faux HDR effect inside of Photoshop. In fact, we spent a considerable amount of time in Chapter 17 of the Advanced portion of the series, as well as Chapter 30 in the Mastery portion here, discussing how to create, essentially, faux HDR high-luminance effects, using the Shadows/Highlights Filter. So I figured at least for the sake of comparison, especially since that filter is so much easier to use and doesn't require you to switch between color spaces and flatten off your entire composition and go searching through the History panel for a source state, because it's a more elegant process, how does Shadows/Highlights hold up against HDR Toning and vice-versa? So I've gone ahead and saved the results of the previous exercise as Toning curve adjustment.psd, found inside the 33_HDR_pro folder.

I'm going to switch back to that original image, Stylish young couple.psd, which contains the Smart Object, so we can apply Shadows/Highlights directly to it, and then I'll go up to the Image menu, choose Adjustments, and choose Shadows/Highlights. If you followed my instructions many chapters ago and gave this a keyboard shortcut, then you can press Ctrl+Alt+S or Command+Option+S on the Mac, and then make sure your Shadows/Highlights dialog box is expanded. If it's not, you need to turn on the Show More Options check box. Here is the settings I'm going to apply. First of all, I'm going to get pretty, radical where the Shadow detail is concerned.

I'm going to raise the Shadows value to 75%, which is ridiculous, as you can see, a little bit over the top. However, then I'm going to turn around and expand the Radius value quite a bit; I'm going to take it from 50 pixels all the way up to 150 pixels, so we end up distributing the halos a little better. Then finally, I'm going to take the Tonal Width value down and notice as I do, I'm reducing what's considered to be shadows inside of the image. So I'm going to go ahead, and take that value down to 35%.

So I am now applying a radical shadows adjustment. I'm opening up the shadows like crazy, but at least I'm limiting my changes to just the darkest shadows in the image. Now I'm going to drop down to the Highlights value, and I'm going to be pretty generous here, too. I'm going to raise that value to 50%, and when I say generous, I mean I'm dimming the highlights quite considerably from their original appearance. Tonal Width and Radius, I'm going to leave set to 50 pixels a piece. So 50, 50, 50 for those guys. And then Color Corrections should be 0, because if I take this color correction value up, let's say to 25%, we just get aberrant coloring inside the image.

His face looks pretty good at the saturation level, as does his shirt, and his tie, and so forth. She doesn't fare nearly as well. The midtones in particular are starting to clip, and so she has a little bit of that sort of burnt or sunburnt look, which I don't think is the least bit fetching. So I'll go ahead and take this value back down to 0, and then I'll raise the Midtone Contrast value to 50 and otherwise, these values are just fine. The Black Clip, and the White Clip should be left alone, and that's our effect. So 70, 35, 150, 50, 50, 50, 0, 50, click OK.

We now have an editable Smart Filter that we can change anytime we like. I'll right-click on the filter mask, choose Delete Filter Mask to get rid of it, double-click on the Sliders icon, and I could go ahead and change the blend mode to Luminosity if I want. I doubt that's going to make much of a difference, but we might as well just allow the original luminance levels to show through. And Opacity, I'm going to leave it 100%. Click OK. So that's it! How does that fare? Well, the histogram is looking good. If I update the histogram over here inside the Histogram panel, it looks like we've recovered some highlights quite nicely.

So this is the before version of the histogram, if I turn Shadows/Highlights off, and this is the after version of the histogram, and of the effect as well. Now, on the positive side we have lots more luminance levels in the Midtone range, and we've got some light shadows and darker highlights, the kinds of luminance levels that are going to survive nicely in print, the kinds that also resonate as sculptural details when we look at them. However, on the negative side, the image lacks a little bit of vibrance, and we have some modeling in the woman's skin that wasn't there before, and I'm not sure it really works effectively inside the image.

So anyway, compare that, by the way, to the two HDR effects I have open right now. First, there's Local adaptations.psd, in which he looks really great, actually. His skin tones are wonderful, and they're nice and rich in brown, and her skin tones also come off better, as you can see. We still have plenty of luminance going on, that is we have some darker highlights, we've got some brighter shadows, and so we can see some nice lustrous, volumetric detail going on inside the image.

Same with the Toning curve adjustment.psd file, which isn't as good, I don't think. That's that last effect we created in the previous exercise. But it still looks preferable, in my opinion, to the effect we just got done making, which is Stylish young couple.psd. Now I'm by no means suggesting that HDR Toning is always going to do better in the faux HDR department than Shadows/Highlights; that's not necessarily the case. However, where this image is concerned and a few other images that I've tried out over time, the jumping through hoops associated with HDR Toning ends up being worth it.

So just remember, where HDR Toning is concerned, start with a flat image, rather than an elaborate, layered composition, apply the effect, save off a snapshot in the History panel, undo your modifications, so you get back to your original image, create a new layer, fill that layer with that snapshot that you saved off in History panel, and then merge the two layers, in order to achieve the best effect possible. So once again, here is the easy way of working Shadows/Highlights, and here is the result of the harder approach: HDR Toning here inside Photoshop CS5.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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