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Nondestructive editing with HDR Toning

From: Photoshop CS5 One-on-One: Mastery

Video: Nondestructive editing with HDR Toning

I am still working inside the Stylish young couple.psd file, and I am taking in these strange modifications that I applied using the HDR Toning command. Now it's not altogether successful because we have brought out all kinds of noise inside the image, both luminance noise in the guy's hair and color noise under the woman's jaw. We also have some strange coloring around the edges; notice there's this kind of neon orange under her hair. But we do have some nice contouring. So we have managed to settle down the highlights a little bit, bring in some nuanced skin sculpturing, that kind of a thing.

Nondestructive editing with HDR Toning

I am still working inside the Stylish young couple.psd file, and I am taking in these strange modifications that I applied using the HDR Toning command. Now it's not altogether successful because we have brought out all kinds of noise inside the image, both luminance noise in the guy's hair and color noise under the woman's jaw. We also have some strange coloring around the edges; notice there's this kind of neon orange under her hair. But we do have some nice contouring. So we have managed to settle down the highlights a little bit, bring in some nuanced skin sculpturing, that kind of a thing.

What we would typically do at this point is we take the adjusted version of the image, and at the very least, somehow merge it with the underlying original, but that is not an option because HDR Toning has flattened our image. In this exercise, I am going to demonstrate to you how it is actually an option. We can take the most inflexible command in all of Photoshop that requires you to flatten off an the entire composition, and we can still turn around and apply it as a non-destructive adjustment, thanks to our ability to access previous states from the History panel.

So just to make sure that you can follow along with me each and every step of the way we are going to reapply our settings. And if you've saved the settings in a previous exercise, this will be a piece of cake. So all we need to do here is go up to the File menu and choose the Revert command, or press the F12 key in order to revert the image to its original appearance, and that also gets us back our Smart Object. Then go up to the Image menu, choose Adjustments, and choose HDR Toning. You will get an alert message. Go ahead and click on the Yes button.

Then inside the HDR Toning dialog box, I want you to go ahead and click on the Preset menu and choose moderate Contrast, once again, if you were following along with me, and you went ahead and saved off those settings, as I instructed. And then you will get these numerical values right here, a Radius of 100 pixels, a Strength of 0.5, which is equivalent to a 50% Amount value. Gamma 1.0, so no change there, and Exposure of -1, Detail of +30, Shadow -100%, Highlight -10%, and both Vibrance and Saturation set to 0%.

We haven't looked at Toning Curve and Histogram yet, but we will in an upcoming exercise. Go ahead and click OK to apply those settings. You will get the exact same effect that we saw just a moment ago. We have flattened off the image. Notice if this was a traditional flat effect, and we pulled this off many times back in the Fundamentals portion of the series, after you apply even a brush stroke inside of Photoshop, you can go up to the Edit menu and choose the Fade command, so that you fade the effect with the original version of the image.

This command is not applicable to HDR Toning. So once again, Photoshop cannot wrap its mind around that transition from 8-bit to 32-bit and back and still retain any semblance, or any memory of that original image. Save one. If you bring up the History panel, which you can get from the Window menu, so go to the Window menu and choose History, or if you loaded dekeKeys press Alt+F9, Option+F9 on the Mac, then notice inside of this panel, I am going to shorten it up just a little bit.

We have a list of everything that I have done. So there is the open state. The HDR Toning command flattened the image, but it was recorded as an independent step. Then I applied HDR Toning. Then I turned around and reverted the image at the beginning of this exercise. It got flattened again, when I applied the HDR Toning command. So here is the results of HDR Toning right there. Let's go ahead and save off those results as an independent snapshot, by pressing the Alt key or the Option key on the Mac and clicking on the little camera icon at the bottom of the History panel.

Then I am going to go ahead and name this snapshot Faux HDR, and I will click OK, and we now have that state saved off to memory. All right, now what I want you to do a couple of things, first of all go back to either the Revert state or the Open state; either one will do us fine. That's going to restore the original smart object version of the image. And then I want you to click in front of the Faux HDR snapshot. Click right there, in order to designate Faux HDR as our source state for any operations that rely on History inside of Photoshop.

All right, now that means we can take that source state, and we can place it in an independent layer. Here is how you do that. Go ahead and collapse the History panel, press Ctrl+Shift+N or Command+Shift+N in order to make a new layer, and let's call it the same thing, Faux HDR, and click OK. Now we need to fill it with the History state. There is a couple different ways to do that. One is the manual approach. You go up to the Edit menu, you choose Fill, and then inside the Fill dialog box, you will probably see Use set to Content-Aware, by the way, or something like that. You want to change it to History instead, and that will draw that Source state from the History panel.

So go ahead and choose History, make sure mode is set to Normal, Opacity 100%, and Preserve Transparency turned off, and then click OK, and now, just like that, your History state becomes an independent layer inside of this composition. Here is another way to work, those of you who like keyboard shortcuts, I am going to press Ctrl+Z or Command+Z on the Mac, to undo that modification. That's not the keyboard shortcut. The keyboard shortcut, and it's a very little known one at that, is Ctrl+Alt+Backspace. Notice, PC people, that is not Ctrl+Alt+Delete.

That is Ctrl+Alt+Backspace. On the Mac, that's Command+Option+Delete. So press either Ctrl+Alt+Backspace or Command+Option+Delete, and you fill a selection or an entire layer with the tagged source state inside the History panel, and here it is. Now the next thing I want to do is I just want to go ahead and reduce the Opacity value. You can play around with some blend mode settings and so forth, but I notice, even though we have some aberrant colors going, if I change the Blend mode to Luminosity, so we just pick up the colors from the original image, my shadows are turning very drab.

Instead, what I decided to do was leave the blend mode set to Normal, as it was in the first place, and then I will press the Escape key, so the Blend mode option is no longer stuck over here on the PC. And I will press the 4 key to reduce the Opacity value to 40%. And I end up with this effect here, which is quite reasonable indeed, frankly. So this is the original version of the image, if I turn off that layer, and this is the modified version of the image, thanks to what is ultimately a non-destructive application of the HDR Toning effect.

Now just so that we can compare it to that Exposure, Gamma version of the image that we created a couple of exercises ago, I am going to Shift+Tab away my panels, and I will go out to the Applications bar to the Arrange Documents icon, and I will switch to the 2 Up display, so that we can see both of these images side-by-side. And then I will Shift+ Spacebar+Drag the models over a little bit, so that we can see both of them. Over here on the right-hand side, we are seeing the results of the Exposure Gamma settings, which were exceedingly easy to apply from the HDR Toning dialog box.

It didn't require us to do any mixing with the original image. Whereas over here on the left-hand side, we are seeing what is undeniably a harder effect, that is a more labor-intensive effect, because we have to modify a bunch of local adaptation settings, and then we had to go through all that rigamarole, with the History panel and building our own layer, and mixing it with the underlying original, and all that jazz. However, the ultimate effect is a few degrees better. We have better sculptural contouring going on inside of the gentleman's face. We have equally better contouring going on inside of the woman's skin as well, and her dress detail. Check this out. If you want evidence, notice over here on the left-hand side, down here at the bottom of the image window, in her pink dress, there appears to be a very slight stain on her dress.

Now that's not necessarily the kind of thing that we want to bring out, but we did bring it up because we were able to bring out all these little details and differences between the luminance levels. That stain is not evident over here in the right-hand image. So it's a negative detail, but still it is the kind of thing that we are able to bring out using local adaptation, mixed along with the original image, in a non-destructive fashion, thanks to your ability to convert History states from the History panel into editable layers.

Show transcript

This video is part of

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

192 video lessons · 43599 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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