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The Local Adaptation options

From: Photoshop CS5 One-on-One: Mastery

Video: The Local Adaptation options

In this exercise, we are going to take on the Local Adaptation options inside the HDR Toning dialog box, because that's where the real power of the feature resides. I've saved the results of the previous exercise as Recovered highlights.jpg, found inside the 33_HDR_pro folder. I also have opened the original version of Stylish young couple.psd. I want to compare them side-by-side for a moment, so I am going to go up to the Applications bar and click on the Arrange Documents icon, and switch to the 2 Up display, like so. And then I will press Shift+Tab in order to hide the right side panels.

The Local Adaptation options

In this exercise, we are going to take on the Local Adaptation options inside the HDR Toning dialog box, because that's where the real power of the feature resides. I've saved the results of the previous exercise as Recovered highlights.jpg, found inside the 33_HDR_pro folder. I also have opened the original version of Stylish young couple.psd. I want to compare them side-by-side for a moment, so I am going to go up to the Applications bar and click on the Arrange Documents icon, and switch to the 2 Up display, like so. And then I will press Shift+Tab in order to hide the right side panels.

And I'll press and hold Shift+Spacebar and drag the image over a little bit to the left, so that we can see both of the models. And Photoshop has gone ahead and thrown stylish young couple, the original image over here on the left, and the modified version appears on the right. And I have to say, I'm frankly impressed by how much positive good we were able to bring to this image, using just a couple of slider bars, Exposure and Gamma, and nothing more. It's a fairly subtle modification, but it's definitely a good one. Notice the rich shadows that we are now developing inside this gentleman's face, and the highlights inside of her face are tempered a little bit as well.

We have a little less contrast in the shadows underneath her nose, and below her jaw line, and so on. And we have really managed to recover some luminance data that was otherwise lost. So a very positive change thus far. Let's see what else we can do here. I'll make sure Stylish young couple.psd is selected, and then I'll press that keyboard shortcut that I've included along with dekeKeys: Ctrl+Shift+A or Command+Shift+A, to go ahead and consolidate the image inside of one window, and then I will bring back my panels by pressing Shift+Tab.

Now I'll go up to the Image menu, choose Adjustments and choose HDR Toning once again. Bear in mind that I've restored my Smart Object, so Photoshop is once again going to send me an alert message, saying you have to flatten the document. I will begrudgingly say yes, I do want to proceed, and up comes Local Adaptation. Now after you notice the fact that your image goes absolutely bonkers in the background, you may wonder what in the world is so local about Local Adaptation. Is it just right down the block? Well, actually what it's referring to is that this is an edge- detection function, just like your Unsharp Mask and your High Pass and your Shadows/Highlights.

You are actually drawing halos around portions of the image, and because the command is detecting edges inside the image, it's adapting your modification to that image detail. Hence, Local Adaptation, local being the image itself. So we are starting things off here with Edge Glow, and notice by the way, if you're tight on space, you can go ahead and collapse some of these options here, just by clicking on the little triangle icons. So I'll just leave Edge Glow open for a moment. And what's happening here is we are determining the size of our halos, just like always with the Radius values.

The Strength value is analogous to the Amount value, included along with Unsharp Mask and Smart Sharpen and so on, except that it's not a percentage. So a Strength value of about 1 is analogous to an Amount value of about 100%. Notice this value only goes up as high as 4, or 400% - just bear that in mind. You're not probably going to want to go this high, but I do want to show you what happens if you reduce the Radius value to, say 1 pixel. In this case, with such a high strength value, you are going to end up getting a classic sharpening effect.

And when I say classic, I mean hideously ugly, actually, but it is classic in that we are sharpening the detail inside the image. What I am going to do is spread out that radius, just as I would if I were using the Shadows/Highlights filter. So I'll take the Radius value up to 100%, and we are spreading the heck out of those highlights, albeit, but they are now taking over the image. We have way too much clarity. So I am going to take that Strength value down to 0.5, which is analogous to an Amount of 50%. All right, let's go ahead and twirl open Tone and Detail.

Now whenever you see Tone inside of Photoshop, that means luminance adjustments. So things start off this time with the Gamma value, and now it works the way we are used to, that is if you lower the Gamma value, you are going to darken the midtones inside the image, and if you raise the Gamma value, you're going to brighten the midtones. I am going to go ahead and leave the midtones flat at 1.0. So once again, Gamma is measured as an exponent, just as it is inside the Levels dialog box, meaning your midtones to the power of one are going to stay the original midtones, to an extent.

Now I will be showing you how even no changes inside of this dialog box results in big changes, but I am saving that information for just a moment. Exposure is going to control the clipping of the white point. And in my case, we do have a fair amount of clipping going on, as you can see here in the background histogram. Even after I update it, we've got a big huge line, and much of its gray, thereby indicating that we have clipping in the red, green, and blue channels. So I am going to take this Exposure value down by pressing Shift+Down Arrow, like so, and you don't have to be as careful with this Exposure setting as you do with the one we saw in the previous exercise.

Still, I am just going to nudge it downward until I see my clipping inside the histogram ease up considerably in the background there. I'll go ahead and take that Exposure value down to, let's say -1 for now. Now the Detail option is like Detail, as you may recall back in Chapter 24 of the Advanced portion of the series. It's like the Detail option that's provided along with the sharpening controls inside Camera RAW. That is to say it controls the degree of micro-sharpening. It's an adjustable more accurate check box, if you were to think about Smart Sharpen.

So if you increase the Detail value, you're going to go in and apply all kinds of micro-sharpening. You are going to bring out some very bad edges inside of this particular image, as well. If you reduce the value, you are going to create this strange sort of lunar glow effect, this over-smoothing effect, almost as if we had taken an inverted high pass layer and merged it with the underlying original. In my case, I am going to take this value to 30, which was the default setting, actually. Next you have independent control over your shadows and highlights, that is how bright are the shadows and how bright are the highlights.

So you can either darken them or lighten them independently. And in my case, I am noticing that we are bringing out a fair amount of noise in the shadow detail, which is to be expected quite frankly because that's where the noise resides. So we are seeing a lot of luminance noise and some color noise from the guy's hair, and we are seeing a lot of color noise under her jaw. So I am going to take that Shadow value down all the way. You could just go ahead and brighten it up if you want to, by taking it up to +100%, and that will add some brightness to the shadows, but I want to sink those shadows.

For all the good it's going to do me, it's actually a fairly subtle control where this image is concerned, because I am starting to run out of shadows. You have the same control over the highlights if you want to. You can brighten those highlights, or you can darken the highlights. Obviously, darkening the highlights is going to have a bad effect on this image if you go too far. I am going to take it to -10%. You don't seem to be able to enter a negative sign in this dialog box, which is actually kind of a pain in the neck. So I will just go ahead and drag this slider down, or nudge the value down using the arrow keys.

And then finally, you have your color controls right here: Vibrance and Saturation. Part of the problems with the default settings are they are all about increasing the Saturation and Vibrance values, which ends up creating just these absolutely absurd effects here. What I recommend you do, when in doubt, is just leave both values set to zero and then turn around and mix your modified version of the image along with the original, which is something that I'll show you how to do in the very next exercise. All right, and that's pretty much it for now.

Let's go ahead and click on the OK button in order to apply these settings, but first, why don't we save our settings off? I am going to click on this flyout menu icon and choose Save Preset. And I am going to go ahead and name my changes moderate contrast, because I consider this to be a fairly moderate modification by comparison to the other presets that Adobe provides. Click on the Save button, and you will now see moderate contrast added to your list. So go ahead and create it, by the way, because you're going to need these settings, you are going to need to get back to them in the very next exercise, And then if you like, go ahead and click on the OK button in order to apply your effect.

Now I am not sure it's better than the original. If I press Ctrl+Z or Command+Z on the Mac, this in the original image, and this is the HDR local adaptation modified version of the image. We are certainly bringing forth some shadow detail, and we are calming down some of the highlight detail, so we have a little bit more uniformity where the luminance is concerned, but we are bringing out all kinds of noise. And we have some very strange edge details, some bright neon edges going on. What do we do about that? Well, we blend this image with the original, and I'll show you how to pull that off, from the History panel, in the next exercise.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 44113 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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