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HDR: The Real and the Surreal with Colin Smith

I guess the first question that some people may have is what is hdr so that's a good question if you don't know what it is hdr stands for high dynamic range and basically the best way I like to describe is if you look around where you are looking your environment right now and look for the darkest thing that you can see with detail which maybe is this table here I can see the texture you I don't know if you can see that on the camera, but maybe you have a table or dark carpet in your house and you guys can see like maybe that texture on his microphones and then you look for the lightest area that we could see with detail. I would say these fluorescent lights here because that's not just completely blown I concede detail in there now the thing is, the human eye has a wide dynamic range of vision and when I say dynamic range, being able to see simultaneous shadows and highlights now the other thing is that I actually is also smart does it can adjust so almost hasn't you know within withi...

n reason, you know, a very, very wide range of tones that you can see that's why when you go everywhere you look, you can always see the detail, you can see the detail in the shadows, the highlights or if you go into a dark room, all of that it goes dark and opens up uses or desires pops open so I know I can adjust now so when you look at a scene you see all this stuff and you see all this determining you take a photograph and you disappointed because it's like this doesn't look like anything like what I what I saw this is helen and you know where is everything and that's? Because the camera doesn't have the ability on its sense that a hold as much dynamic range is your eye can see so to go for the example you know, if I was to take a photograph ofthe this table and exposed for the for the text I could get a beautiful photograph of this texture. However these lights here or you know anything even a highlight area and not even necessarily a white but anything getting near that area will be completely blown out all the details would be lost and the same way as if I said the explosion for those lights and I want to bring out the detail I could do that but everything else the room would be dark and black and the reason is because it works on a on a scale here's a dynamic range of the scene yeah, I can see this but you know I can adjust the camera can see this I mean it's not to scale but so here's the scene and this is what you capture on the camera so you have to make a creative decision and and you know, as you know, the photographers what was making creative decisions and generally speaking of his a person in there, you know, the skin tone a person is what you expose for if it's not a person, whatever your subject is is what you expose for you later this stuff just get blown out of fall into shadow that's not important, so you can kind of pick where you want to go, so the process of hdr is to go high dynamic range, which means that I can take a syriza photographs, stick them together and then capture the entire dynamic range onto the camera onto the census I'm going to show you this this is a three step process that that I use here for creating hdr I'm just going to select thes three first and then we're just going to pop it open and then we'll get into it. So this is kind of a little bit of theory s o for example, this is it the bradbury building in l a and notice that there's a very, very high contrast scene meaning there's a lot of contrast going on is a lot of lights and darks and these air shot on the on on my five d and you can see here that I've bracketed it two shots two stops under in two stops everywhere the reason I did that is if you look at this here's the medium photograph right here that's what we get so if you look at that even outside all that details blooming it's blowing out there's nothing there and in the shadows you're not seeing a lot of detail that's the best you could get on a standard capture on your camera now you could open up a little bit in light room or camera room, pull out a little bit more detail, but if it's not on a sensor it's not going to come out so see the like this area here, the white area I don't care how much you would cover that it's still going to be wise just gonna turn into great because that detail is not on the sense of the camera, so if I do two stops under right here, you can see I've captured this I've said this exposure to get all the details on notice everything outside is probably exposed and inside see how dark it is that's the amount of dynamic range and get on your camera but I want to detail here in the shadows so I do two steps over notice I'm getting this beautiful detail because this incredible wrought iron work it's gorgeous but it's not showing in the standard photo sort of bring this out notice we're even getting this blooming now everything's just gone so I don't care you know what mad skills you've got what software you're using you know to take a single image because I've heard this term single image hdr which is I'm going to dispel that myth right now I don't care what software I put that I'm never going to bring this detail here out in this photograph because it's not there it's blown out it's it's bloomed so there's two different sides to hdr on we're gonna be covering him there's the real and the surreal the rial is what I'm talking about right now is actually capturing the entire dynamic range getting it on t a sensor of your camera first the surrealism we'll talk about in a second which is you know a little bit more a stylistic effect which which is nice too but it's not really hdr on do you see so the first step there's three steps of first thing you need to do is get all this dynamic range get it on t v a sensor of your camera so we capture it then the next step is we need to merge these together and don't wear game gonna go into this in details so don't I worry if you're if you're not quite following me right now so what we do is we taking these here because these air three different photographs and then you probably heard the term thirty two bit because when you capture in your camera you know you might be in a sixteen bit space but it's going to capture maybe twelve bits of data is just in a sixteen bit um so you can only jam that much like, imagine like, if you've seen those photographs of people, you know, if you can get twenty people into many, you know, college college student thing, so basically you have a mini and you've got a hundred people of detail you're trying to jam a hundred people until many it's just not going to work I mean, you might get twenty in there, I mean that's crazy in itself, but that sixteen but space is a mini, so what we need is a bigger container. So that's, what thirty two bit is so we create this thirty two but space, which is basically think of it as a bus. Now I can take all this dynamic range and I can throw away this information into this bus so we merge these photographs again. If we need a biggest space, we get a thirty two bit space and we jam these pitches in here, not right now I'm only showing three I mean there's many times and I've done seven or nine exposures it doesn't have to be three, it depends on the dynamic range of the scene. Some scenes are so low, dynamic grains you only need one shot. You don't even need to do bracketing because it's it's all there s o so anyway, so what we do is we jam it together, you could see this overlap here and that's another thing because you know, some people you know do one stuff and some people do two stops. I remember when I was a little bit laughable now, but when hdr first came out in photos up, I don't know seven years ago something adobes recommendations one third of a stop now that's pretty funny because I actually tried to stuff one third of a stop and I was like, this is this is not really doing much because it's so much overlap and as rock vision gets better and as raw or photographs get better, you can capture a lot more range on the center of the camera now, so there's a lot more life's, a dart on and more than you've been seeing the photographs so they start to overlap a little bit. So we merge these together into the thirty two bit space so that's a second step, then the third step is where the magic happens and the creative decisions and made and that's tone mapping that's basically taking that bus full of data and saying ok, I'm going to unload this bus we're going to go back into a mini so I need to pig you know the twenty out of these hundred people to use that example I need to pick the twenty people that best represents how I want to show this image and that's what tone mapping is turn mapping is when you take all this information and then you select the tones you want jam them together and drop it tearing him some water here drop it down into a smaller a smaller space and the term mapping this is where you get to make the creative decisions this is where you decide hey do I want to make this look real what I want to make this look stylistic you can see here we've got the detail here and the iron will get the detail here in the marble and everything and you can also see the people walking by in the streets even the lights here see there's more detail so you can get a very illustrative effect and you can also get a a very natural effect so let's have a look at some examples here I'm going to show you some examples I'm gonna grab right here is going to show these quickly um we go start here ok, so here is a photograph captured in chicago this is right directly out of the campus, I'm not going to do one of those, you know, fake before after things you know, when you know, when you see the infomercial on things blew in person struggling to do something that people do every day, it was like, I can't even brush my teeth right now because this has been a two freshmen about to show, so he is here's the picture here, this is the standard photo out of the camera, then he is a little bit of adjustment here inside of light room. So this is I mean, I just been a lot of time on this. I could do better, but this is more or less what you're going to get you to cleaning up the white balance and finding an average exposure. Now, if I do into thirty two bit, see how much more detail I'm able to bring out here in this photograph, says the same same photograph, and then we're gonna move on to another example. Here we go once again in chicago, chicago, my favorite city officiating as far as buildings and architecture, I just love it s o out of the camera, some adjustments and lie room and doing it in a chair and you could just see how much more detail I'm able to get simultaneously if you look here inside the windows you can see down here and if you even look at the reflection here in the water like this before and after seeing is so much more detail and stuff there and it's a little bit more like what I was seeing when I was there at the scene and then here's another shot here till shift in new york and it's just kind of I used a little till shift lines for this and it was just fun typically I don't really do the oversaturated but in this case I really wanted to saturate this because I wanted to emphasize the business of new york so I was kind of supporting my story so typically when I do hdr if I'm going to go for high detail I don't go for high color at the same time because too much of too much is just too much you know? So so if you're going to add something somewhere taking away somewhere else and otherwise it just becomes too busy so those that there I'm going to show you some examples quickly now here off the hdr let's go here I'm going to start with surreal because I think people are kind of familiar with the surreal and I'm just doing tio show you here this is a composite where shut the car and this is in boston I don't know if those cars have been to bust in but there we go s o these air kind of most realize the shed I showed you and that's kind of bordering the line between real and surreal this one's very surreal I had to do nine exposures to get this this is the bradbury building with a sharp blade runner and the roof there was like the sun was coming right into the atrium so it was very, very high contrast and at the bottom was extremely dark. So, um, it's not really one of my most shining examples of age era, but it is a great example of showing how I could get such a contrast he seen into the camera to be no other way to do this here's another one inside the same building here and you can see that, you know, there's obviously a big difference between, you know, the bright sunlight coming out there and these gears, I think there was seven shots off five shots on that one. I don't remember san francisco, so you know, it's kind of, you know, I've seen these, um I'm just gonna go through these quickly, so these are the kind of surreal kind of affects look at the detail here you look inside, you can see this texture in the seats and the maps and one of the interesting things too is since I've been teaching this, if you look into the crime you consider reflections is actually a guy in florida convenience that the forensic scientist have actually started doing it because they can pick up a lot more detail from the crime scene now so it was kind of an interesting bonus. Um and so here this is one of my earlier pieces. This is in boston and I just love the fact that you could look inside these windows and to see the detail you know, new york city is a little stylized. I did an oil filter thing on here. I don't really do these much, but I thought it would be fun. Charlie's morsi cargo new york city now, this one was any two shots, so in order to get hdr high dynamic range, you need a minimum of two shots. So this one was any too, because this was hand held the third one was gonna blurry, so kick it out now his example a point not to do any star in my opinion, this's ah, this is a landscape, and I did this just to kind of show you I mean, you've probably seen a lot of images like this and my pant I think I brew in this photograph um this is this might be because of course iran else has a different opinion, but for me this is where I like to draw the line when it comes to architecture and it comes to anonymous objects I love to do like a very stylized, sketched, illustrated look what it comes to nature and landscape I like to go for more of a realistic look so that that's once again as my personal opinion um and of course you saw that shot and los angeles river again said, should I show but this is an hdr version of it. You could see the fish in the river and the people in the boats and no there's, a black and white works very, very black and white. This is union station in chicago and, uh, you know, you can really get some really nice detail. I love the detail on architecture and sdrc the bricks and concrete because you know that look at the stairs when you look in the middle of the stairs, see how they worn down there more than there are in the middle and you know, this tells a story every little scratch, every little nick and some of it is part of the story, so for me, hdr makes sense for this photograph because it really strengthens the story and the history and the character of this place this one here called whoville it's really over done on purpose this is boston and I was just kind of trying to do something different experimenting so anyway let's get out of that and we're going to go back to the real now and see you know some of these are going to tell you that they kind of turned the line you like you know where what israel what is not really you know to actually categories one it's kind of difficult sometimes but here here we go this is def valley I was here in december and you can see the details he hear the reflections here you can still see the details there and I kept this very rare I didn't push it even this guy I didn't try to recover too much detail I just wanted to bring out the texture because this is what I saw when I was there so when you're moving into the more real side of it like that or here for example what I'm trying to do is recreate what it was that I saw with my eye when I was there so I could say hey, you know what? This is what the scene looked like this is what it looked like to me when I was there and so you know with the sun coming up and everything evidence the one time in my life I get apparently weigh in new york and you could just see you know it shows you that one before and here's an example where you can do it real but it doesn't have to be color so I'm actually going to show you how to do this this's one of my lessons I'm going to do but see how much geeta comes out there even in the black and white or cpo what do you want to call it and you can if you can actually look into the chrome you could see the reflections and stuff like that and that and it's just very very sharp this was all done in a thirty two bits space that this wasn't cut out or anything um here's another one here slow shutter speed that's what I get their little things emerges together where it's really nice this is a new york city once again and I'm kind of looking into the light is what got the flare coming out so to take that in a single exposure you know it's it's backlit so you would be losing a lot of the detail normally you saw that one this one here believe it or not is it looks like a painting but it's not it's actually just doing not even crazy term memory is just that much reflection was wearing a pond there in new york and hear this kind of told the story many annapolis for me it was like the old and the new um you can see why I was able to really bring out the reflection of the old building inside the new building um course thea my favorite mustang eleanor and you can see it's kind of natural it's not over so realistic you know his ship here you can see the detail I'm able to get down here all the stuff is showing the water showing and the sky showing a lot of the time all of this is just a recovered detail in the sky so it's not not blowing out um and he would go this isn't in vegas and this one here actually worked with one photo but I just liked what it did to the sky with with emotion to get I call this war because everything's called except for this beautiful one fear um and this one here is ah she had the boca is just really came out really nice in here or there but ko having you're supposed to say I say focus and this is once again using it till shift um and, uh, you know, so that's basically some examples so why don't we actually jump in and talk about creating a shia first thing we got to do? We gotta shoot it let's talk about some camera cities um so the camera cities a really quite basic when when you shooting hdr what you want to do is you know, just basically put everything into manual so you could get your camera and you can do it, believe it or not, you can do it with point and shoot cameras it's a little hard over appointee camera because they make the sitting so you can't always, you know, you can under an overexposed, but you can't always control the shutter speed from the aperture on me on some of the points shoots so that's kind of, you know, so it does work best with a dslr, but one of the things that's really important, as you put it, mega, and you want to change the shutter speed between when you bracket it. So basically you're taking one shot, which is a regular exposure, and then you're interest here, you're going to just stop it down two stops away until it's black and then you're going to stop it up two stops all the way until it's white, and then you have captured the entire dynamic range. Everything is there on your sensor. At that point, you could do whatever you want for a quick and nasty hdl, which I do a lot of the time I will just bracket the camera for three exposures two stops under two stops over and regular, and from most scenes that will capture the entire dynamic range. If you're in an incredibly high contrast scene, they then you'll you know, tweak it a little bit but very important change only the shutter speed so in between each shot because if you change the aperture you're also changing your depth of field you're going to create a blur you don't want to do if the irs so because you're going to start doing things with noise so basically only change that put it into the drive so you can hold it down and it clicks three times the exception to that is you see an example a little bit I'll be working on where I'm using a model and I'm using a speed line and with the speed light I couldn't go because I needed to give that uh that flash time to recycle so that point I would get a manual click one exposure hit the second explosion hit is the explosion, so they're flashes got time to recycle, but generally speaking, most the time you just hold it down donald dominant takes very, very little time to shoot it. Tripod if possible, a lot of you shoot you know in the city's new york city you'll find out soon as you put sticks on the ground you're so I'm hitting you over the knuckles say, you know let's use a tripod so some some places have really hard tripod rules if you can't use a tripod you know remember get those elbows and nice and tight lean against poles or whatever you d'oh you know all the tricks that I'm sure you know tow you know take a stable photo just hold your breath a lot longer and just really grab that camera type you know take it and put your camera bag around you lean on the camera but what have you got to do to get that camera is still is possible photoshopped is actually quite forgiving a cz faras like your camera moving in between shots because it does have an order online feature but the one thing you want to make sure is that you can hold their camera still on the longest exposure because if you get you know motion blur on that photo it's just gonna be blurry so you want to try to avoid that if you possibly can um so and any other thing is to avoid moving subjects because when you're merging the three photographs together if you have a lot of movement you get what's called ghosting ghosting is where something appears of one frame and it doesn't appear any other frames and that little ghosted image is going to kind of show up kind of half there and half not there but fear not we're going to cover that in this in this class we're gonna look at how to deal with ghosting as well so anyway, that's the basics of hdr, and I think we're ready to jump in and actually create a job. One more thing before we do it is going to show you there's, a three d model I created and composite of it, and one of the things you can do with hd fdr didn't really come from the photography industry. It came from the entertainment industry with the film industry, and so has used a lot in three d for creating texture, environment, maps. So for example, here is the roof of the unnamed building and here see these reflections here inside the crew room, and you'll see it here if you looked at a full size, you'd see it. I actually created a three hundred sixty degree panoramic hdr photograph, one hundred twenty eight exposures from this point here so I could map it onto my three d model. So what you're looking at in the crew room here as an actual reflection of the true environment now that's where, you know it's tough it's moving the environment is moving with it now. That's really where? You know, hdr kind of came along and and then it started to creep into into photography and now it's really big in photography, but it's still used for lighting for example, the movie benjamin button's, that scene when he's in a wheelchair and he is the old little guy and in wheeling him through that whole scene was see jane, it was lit purely by hdr for target, they let the entire scene that way. So that's that's a lot of the, you know, stuff that is used for so anyway, but we're talking about it in a photography aspect so well, let's just start and actually just merged them stuff together. So what we're going to do is we've got some, you know, different photos. I'm going to start with the example that we talked about. What I'm going to do is I'm gonna grab these three photographs now you could do this from light room or you can do it from bridge, we could do it within photo shop, I'm going to show you howto work from light room in a bit, but what we're gonna do is we're gonna grab these three shots that, you know, we kind of talked about earlier on, and then we're going to go under the tools and we're gonna get a photo shop and we're going to use mistakes, they are pro now, this is the same in light room now bridge does not have hdr tool. What it's doing is it's calling photoshopped right now? And it's just telling photoshopped to run its hdr filters now photo shop in itself every version photo shop and finish up extended support hdr. So what is doing right now is it's merging these photos together? You might see some strange things on screen, but do not be alarmed. Okay, so what you can see here is we've got a regular and see you continues on and off we'll get a radio would get to over two hundred. So what? We're looking at it here right now is a thirty two bit representation of of these photographs. So if I change this into thirty two bit mode, you'll see this is what we this is what we call a, um floating point, and the reason is it's a floating point cause if you remember earlier on, I give the example of here's the dynamic range of the scene, this is what the camera can capture, so this is also what you can view on your screen because you don't have a thirty two bit monitor s o you can't see everything on the screen it's like the matrix, you know, there's too much information, you can't move the matrix. You know, so you can only look at it zeroes and ones, so we're kind of looking at a one bit at a time, so imagine this is your iris and you're changing and adjusting to the scene so we can actually look at it and we can view it now this is not changing the brightness of the darkness were merely viewing a different part of the photograph because now we've got all this data like thrown in here a whole whole boatload, so we're looking at it and now at this point, this is the second part, the first part was shooting it captured and getting on the camera, getting it on the sense of part two is what we're doing here is merging it and in part three is tone mapping. Now in finish up, you'll see we can go into sixteen or a bit and we congratulate out different sliders here and decide hey, how do we want this to look? Usually if you move the gamut of the lift that's more really take it to the right it's more surreal don't go that far because it looks horrible att this point here, you could start to play around these sittings and bring this in, but what we're not going to do is we're not going to do that because I have a weird workflow. Or a different word flow and that's what I like to do is cool what what I call a thirty two bit negative so I like to capture everything and then I like to save it is a thirty two bit file and then come back and ton man but the reason I do that is because when you tone map it is you'll see that you can make a lot of creative decisions and you can make the photograph look and infinite different amount of ways so if I say this out as a I'm just going to click ok here and it's going to create a file right now it's moving these into this thirty two bit file, what I'm gonna do is I'm going to save this and then I can come back and open it thirty two but file any time I want and do different things with it you know? Maybe I want a mosque and maybe I wantto interpreter to different ways decade on top of each other mask it to a lot of different things and this enables me to do it. So what we've got here is the thirty two bit and it is a little slider here you'll see a few down thirty two bit exposure normally you'll see a little warning you says that slide is only available in fifty two bit mood well, guess what, we're in thirty two bit mode and what this is this is our floating points you khun it's not changing it which is viewing it once again just like we did before and what we're going to do now is we're just going to choose files safe as and we're just going toe save it somewhere and we'll call it hdr now if you are doing a visual effects if you're working in a three d software like my own um senate before d save it is an open x r and then you can use that so for photographers forget about that we move on and we're going to use photo shops to say that is a photoshopped file or you could say that is a tiff and at that point I normally name it um I was doing this I just don't underscore thirty to some I know it's a thirty two bit image when I'm when I'm looking forward for bridge in light room because otherwise it's it's difficult to identify the fact that it's a thirty two bit image so at that point I could just go back and and I can open it later so here I am I've got this photograph open and assuming I've saved it and I just opened it again so we can now make the third decision which is tone mapping so there's different ways of time mapping it this is the easy way as we're just going to choose the mode we're going to go under to the image mode and notices, his thirty two said, now you're going to drop it down to an eight or sixteen bit what is going on a bit, and at this point now you'll see your tone mapping tools come up no there's a lot of different types of term mapping tools like your notice here there's a different methods now these the risk of being technical for a second exposure gamma highlight compression and equalize instagram those all known as global operators, which means that they affected just overall local adaptation is what everybody's going basically use this there are places for the other ones, but typically local adaptation is what you're going to because this is a local operator, meaning that you have control and you have curves and the curves work. We can actually work with these curves and change things in a thirty two bit space, so you can kind of see that now there's a bunch of presets, they come with photo shop and go into here and you'll see here some basic you can do flat um, we khun dio monochromatic if it wants it to like a black light that's horrible um, we got surrealistic high contrast and we've got further realistic I contrast, okay s o at this point here, you can make your own settings here and age glow as I don't like, the edge applies. What gives it that horrible it you can't say that it creates halos, one of the things you want to do, if you want to make it look nice and sharp, you can do that by hitting the detail and then bring these all the way down, so don't have them up like that because it's it's not nice, I don't think I said, I don't think he's ever has an opinion, so I'm gonna bring the radius back. Really small debt brings out more detail and in the strength, you know, you can see you can control and go nuts or or just a little bit, so I don't do too much of that. Ed educ alot one of the things you want to really avoid his halos you know, when you get those little white pages and stuff like that may be the first time you do an hdr it's novel, but really it's not good, so I try to get that out of your work having as quickly as possible. The next thing is gamma gamma changes the flavor, as I was saying before it like a lower it's kind of a contrast in a way. So if you want a most a really you want to show it like a lot of detail, you pull it up if you want to make it very natural, you pull it down so typically depending on a photograph on capulets about there exposure city overall brightness so sometimes you might see your exposure and come back to you grammer and you're the sittings in detail see how that's kind of carved out makes it look very gritty or you can pull it down and just makes it look very very soft there we're going to see you so you just want to find it as a creative decision here if you want to make it look natural just somewhere in the middle then we get a shadow on highlight so this here you want to open up the shadows, see that you go nuts with it and in something with the highlights if you want to recover the highlights, you can go here, recovers it fully but that's sickly looking, so pull it back just a little bit so it looks a little bit more natural. Um so is pulling our shadows down a little bit one of the things to be careful to with hdr because you can open up a photograph and pull up so much detail that you see every little part of the photograph and it's kind of remember the still you don't want to take all the romanticism and of your photograph like maybe leave some things in the shadows every now need because it has makes people wonder you know what what's in the shadows you know make make people think a little bit about the photograph so that's another thing you know don't get too carried away that sometimes vibrance here we've got our vibrance here is basically the difference between vibrance and centuries the situation just saturates or d saturates everything vibrance works on a sliding scale to make it you know stuff that is not so saturated adds more saturation too and stuff that's already highly saturated and adds lists saturation so kind of helps you from blowing out your colors so it kind of preserves it a little bit more and you could get some really interesting things by turning up saturation and down vibrance or vice versa he has some really creative interesting things worth experimenting with but typically I just had a little vibrance okay, so this is just like in a really, really basic way of doing it at this point and click ok and this is just using all of forceps tools and there we go we've now got an eighth in image which you can print you can turn into j peg you could share on the internet you could do whatever you want but let's go back now because one of the things might one of my favorite tools and the plug in that I use all the time is for dramatics I love for dramatics and is a term mapping plug in here and you can see I just I just love the way this deals with detail there's a lot of ace jared tools and I'll be honest with you, I don't think it has the best interface, but the results are just stunning. I just love the amount of detail aiken capture this the most this stuff I'm going to be doing is I'm going to be using for automatics here and what I'm doing is I'm not even using photo medics pro this is the tone mapping plug in um and you know it's about I think about seventy bucks or something like that in the us and also if you use the code photo shop cafe you get I think it's twenty or thirty percent off if you if you end up wanting to get this, you can also try a trial version which is fully functional, but it just puts a watermark on the image so you can kind of see the effects and in this, um, presets here I've got some of my own presets here that I I kind of created and you can kind of see some different does doesn't mind he's mine down here because I I'm tend to be a little bit more around it doesn't work well, they're um so what I'll do is I usually go in here and I'll use some of my presets and I'll get started and it's a good starting place and at that point here I can just tweak it like the color balance of whatever if I want to change that the color temperature, you know, I can cool it or I can warm it up and that's one of the nice things here and, you know, if the different options to it has a lot of different options and under the advanced options here, I really like the way I can affect the saturation here in the highlights separately than I can in shadow see that so that's that's really nice it's a nice way, tio to kind of work, so I'm just gonna hit ok? And in I know a lot of people are using this and he is one of the things you might find is when you go into photo shop, attn this point sometimes it doesn't look the same, it looks different in a way you can fix that is just the view just the slightest change. What you do is you go under the view, choose your thirty two bit preview options and you just make sure you signal exposure to zero and you, camera one and that will actually show you, you know, basically what you created inside of instead of photo matic. So that would get rid of that weakness. And at this point, we just goto adjustment. We get backto mode again and we'll get a pit and hang on. Let me go back to exposure and gamma. Yeah, there we go. Exposure zero gamma one. I don't know why it looked weird before, but that's actually how I created it there and you just click ok? And now that converts isi is an apron image now. So you were able to save that. Um, so let me close this out. Now we're gonna we're gonna go a little deeper down the rabbit hole now and do some more creative expressions. I might just worth mentioning right now, though, uh, if you don't mind, I'm just going to show you here. I have prepared my it's. There are presents for, um, automatics, and you can download them for free right here. Um, so you'll see that. So if you want those, just grabbed them and no walk on tablets of there, too, because I know someone was asking where my welcome settings, where so anyway taken grab those and let's move more forward. So what we're going to do now is we're just going to do with ghosting and we're going to get into him or the more creative side of hdl, which is a part that I really like so I'm just going to select these through and I'm just going to choose the tools here and I'm going to go into photo shop and in under the photo shop we gotta move station pro and, um we're going to go here all right? So here we get we get the three these ghosting see that the reason is ghosting is because on this shot here there's a guy working in the shot he's never ask but notice also there's a truck there's a truck pricing and one of the frames and it's not any others. So that's, what ghosting is now photo shop has got this great tools called removed ghosts. You click on it and you know it's kind of ghostbusters. But the other option you can do that with this, which is fun is at the bottom here you see this little squares? What if you want these guys you want to cover? You can select this as the ghosting image and it brings them in fully so you can select the different buttons down here to choose different de ghosting options to get different types of effects and at that point you would just turn map but are open in thirty two bit space I'm not going to continue with this photo because I don't think it's a tremendously exciting photo but it's it's good for showing you ghosting this also works really well if you got moving water and leaves blowing leaves is another one the de ghosting is really important because otherwise you just get this miss in the sky which you might have seen if you have if you've done this all right, so moving on let's go back to our emerging okay, one of the things that's really interesting is we now have the ability to do thirty two but emerging inside of light room so this is the cool thing about that is I'm just going to emerge these together like like I normally wass I'm gonna grab these actually grabbed these three here I grabbed these three images and this is the trick to it what you want to do is I'm gonna grab my tools I'm going to get a finish up here and I'm going to much tastier approach. So what I'm going to do is I'm just going to put these into a thirty two bit space and you'll see the advantage of this in a second if you want a realistic looking thirty two bit image this this is the way to do it's just really good so what we're doing is emerging use together into a thirty two bit space I'm just going to click ok and let it save you know what I think while it's during this if you don't have you know if you got me question because I want if anybody's like really lost at this point does I mean is I noticed a lot of information that I'm sorry that you very quickly is there any like really critical questions I should answer before I proceed but really quick blue door photography from the internet wants to really know your opinion on why thirty two bit like is it that how important is it? Well you need the thirty two bit space in order to capture all the dynamic range for example when I showed the the some some pitches no it's not important but pictures like their bread rebuilding there's no way I could show their detail from outside and in the shadow detail him fit that inside of sixteen but space you you have to use a thirty two bit space in order to collect all that data swing thank you so just back to the example that I was saying about the bus and the mini you know if you want all that that you can't get in a mini you need to put into us okay so what we got here we got this so he is a trick in this is you choose save as and I'll just dump this on the desktop here. The trick here is ah, just called, she is saving is a tiff I need to save it is a tiff and don't worry about everything else just at this point and we just gonna hit safe and see we get the option here to save is a thirty two bit too, and I'm just going to do that is going to choose that option and see it's saving a progress bar going there, you can see it's full size because that's only sharing a eight point three percent right now so it's a pretty big image, so what I'm going to do is I'm going tio just close that out don't need right now don't save it and we're going to jump into a light room, so lunch like room and and here we are in my room and you can see we'll get a lot of stuff going on here and he is at thirty two bit images down the bottom here, so what I want to do is I want to import this I'm just going to hit import and hopefully I can find a desktop easily. I didn't think about that, but we gotta just up there it is wonderful, so we're going to import this photograph right now from the disk tough on make sure I'm not bringing a nielsen and just a love them off and interesting it on so that way I'm only in putting this now so I'm going to click import inputting files and he would go so now this is the thirty two bit image inside of light room now watch this this is what's amazing if I get it to develop mode on the developed module as you've probably seen when you play around the exposure you know you can only do the expression we look at this look at this amount of dynamic range now that's available inside like room so I have all this incredible control right here that I that I never had before so I can play on my white balance player if that was what we open this up a little bit oh ok he is what's happening now it's really dark here because we're going to blow these out but we'll lose the city see if I open it up always a city so that's what I can do is I can expose it for there and this is what I just really, really dig about doing thirty two bit emerging in like room is a fact I could grab my brush now and I can use my um I can create a mosque now and it works in the thirty two bit space so what I'm going to do is I'm just going to make this a little bit bigger and this works the same in camera roy tuesday if you don't have light room and you're working in camera rolling photo shop you could do exactly the same thing, so notice what I'm doing is I'm just painting out here now and I'm just selecting that and now I can play if he's separately see, I can change the white balance here I can change my exposure and now of course you know my shadow and highlight recovery here is just just predicted to see how much shadows I can open up now because I've got all the space to work with so it just really gives you a lot of control of your photograph if you get too far like I did there just that the option key and you could just like, paint that out to to see you you know that so you can see that you know, if we look at this before and after sandwich dynamic range is coming up and then the other thing that if you really want to get into it like some of these other areas in here, if you wanted you could grab the brushy and we could create another one we could grab a new one and shrink this down and we could go into even this area here and start to paint separately I just start there and then would just change it like maybe changing color temperature see that and we can you know recover stuff um you know, obviously I'm to understand this really quickly um you know would probably spend a good thirty minutes in this image in real life and you see that so we can actually go paint all these individual areas so you have just this incredible amount of control in hdr that you just you know, we continually contrast and here's the thing too when you've got that adjustment when you do the overall see like I'm doing here is overall adjustment over the whole image that's actually changing the that area too that the with their local brush so you can change the flavor afterwards you can kind of see and are like what we're able to do in that you know, before and after uh it's it's really it's really quite cold and it gives you a very, very national look so let me get out of here and I'm going to do something else I'm going to show you we're going to come back to live or even a bit as you know what from now on sense of surgery like room I'm going to close down bridge and we're gonna use light room here to launch out photos just you can see you can do it from virgil light room and you'll see it work detective to say so we're going to go to our photos here and then we're going to go down and let's merge another one together this one I'm looking for here we go so what I'm doing now is I'm selecting these images see that I'm just selecting them here inside of library and then I'm just right clicking and and I'm just choosing edit in photo shop and I'm going to go down to most tasty are prone for yourself so you can actually work between photoshopping light room without ever leaving like room and so hopefully that's emerging and finish up here we go so why is doing is or was there another question with another question I was this is more camera related but I was wondering is there default setting that can be changed maybe so that it's not just three at a time that you know off with most cameras yeah it depends on the camera I had I cannot get the cannon five d mark two and mark three the mark two would only do three so basically if you have one only does three put on a tripod and you just have to manually change it between each shot now with the mark three it does a lot more thing it doesn't nine no um I think a lot of the nikon cameras they do a lot more so you just basically going and you choose the amount of shots you want to take in a bracketing and then you choose how far apart you want to do for the bracketing so you want to use order exposure bracketing so you're going to go into that mode said that my maybe I should have put my camera with me on d just basically do that and once you've got it said then you just hold down the shutter and or use of remote is even better and just hold that down so you don't shake the camera and then let her take a succession of photographs automatically now one of the questions that bitch is somebody's asking because I always get the question is what about in camera hdr and you know, so a lot of cameras now enable you to do that even a lot of consumer cameras are doing it now um and you know that that really depends on who you are, what you're looking for if you're you know you're taking shots and like say for example the mark three emerges them together and creates I think you can choose five different types of styles you know, if that works for you that's great that's just wonderful it's a time saver personally, I don't do that because a couple of reasons one is it takes too long between photographs because the cameras processing and I want to be taking more photos and the other reason is, you know, I really like to play around them and craft of myself I don't want the camera making creative decisions for me I'd like to do it myself now if the cameras were you know for example when it does them the camera if they would save them out as a thirty two bit file that'd be a whole different story but enforce it they don't save ajay pig and it's like an ape it j peg no it's not that exciting you if you if you want a lot of dynamic brains so basically yeah it's great, but it's it's you know I said forget it take it you no point in shooting and hope it comes out you know, if it looks good great. If not, then you can't do anything with it. So that's why I like to you know, just do it manually a question from master doc regarding this he asked to use the bracketing function on your camera or do you change the shutter speed manually to create your images? I use the bracketing feature on my camera. Just make sure when you said that you said it said it to shutter speed and to opportunity andi yeah, so most of the time I will just set it to automatic on the camera and let it do it and less there's like a really, um super high dynamic range scene where I where I want to do it manually and the other time we'll do it manually is also um give you an example here um when I'm shooting a model said or what I'm doing here is I've got you know, I need to stroke to go off so I can't automatically just get because my strobe recite because that's just a speed light inside itself box there so in that case there I would do it manually and it just hope that the model can hold a post um which is difficult very difficult for them to do that so I'm just gonna go back here all right? So what we've got here is this is a scene from from death valley and I'm just going to click ok and we get emerges together right now into into thirty two bit file speaking of what you were just saying with the model moving when you take three or five or whether images into merge um does photoshopped no to try toe auto align if there's any shake yes, yes it does ondas is pretty good. Um, you know, the other thing you could do is you could go in and you could aligning yourself manually, but their order online actually was the big thing from all the term of what version it was now I think it was from cs too to see his three is when a dhobi came out don't quote me maybe see us for they came off a new order line algorithm and then they built that into hdr. So the really, really early versions of photoshopped dexia's too, and see us that do emerging. They do not align. So there was that was added later on it's that technology got on you, but honestly, it does a really good job. A lot of the streets stuff I've got his hand held, you know, stuff like this it's on a tripod, but a lot of my street stuff, I just walk around and, you know, if it's a bright condition and all that's, the other thing too is old. I put my hands up a little bit, not too high. Um, usually four hundred or eight hundred and I want to go higher than eight hundred because if I get the noise in there that it compounds the noise and that's another thing you gotta realize to us when you're merging together, you also emerging the noise and also another tip is if you take the uv filter off because the uv built it creates a little bit of glare and a one shot you, khun, you know, some photographers refused to use of evey uv filter and, you know and other ones do you know, if you want to protect a camera that's what lance goods for, um but when you do three shots or five shots and you have got the uv filter is gonna compound they clear so it's a good idea to take that off when you when you do it there as well and while I may have one more shooting tips it's, we're talking about about shooting if I am doing it handheld, what I do is because to try and keep the camera perfectly still and just look at everything in the viewfinder is is kind of difficult to line up, so what I do is I look at my meeting points and I'll take one of the tiny little meeting point and I'll use it is a gun sight, and I'll actually find a small detail area on the scene that I'm shooting our lineup, that little metering point with that shot and and hold it down when I take it and that will help me prevent leaving a camera too much, you know, it's sort of like, you know, chief of the moon, the stars kind of thing, yeah, all right, so now we get this shot here let's do something because it right now, it doesn't it doesn't look very nice um, so I'm going to do is I'm just going to go in here and I'm going to use federman attics, I'm going to use the term mapping and you can see here immediately we get this really cool thing going on there's two modes here the other mode here is to use the tone compressor and the tok'ra persons what you use if you go for more natural kind of a turn mapping and you'll notice that right there already it looks a lot more natural. So now why did I break it this why don't I know just used photos of the camera because look at the sun, see how I'm capturing the details here from the rays we got this nice color here and it's not just blooming outside, just creating big glow, which is what you would get otherwise, andi also were able to bring up the detail here you might notice here, see if you look carefully at this point here from here on in is still in the shadow of the mountains, so the shadow actually ends here in this part here, the sunlight just starting to hit here and so I'm thinking about, you know, when I was there, you know, at I don't know five o'clock in the morning or whatever time it was and so I think was about seven because it was one two time and and I looked and I saw this majestic scene in front of me, so what I wanted to do is be able to recreate that so just using this kind of sitting here you can play around with the brightness here, and you see this compression here, this will go kind of like a gamble a little bit inside of photo shop see that? So you want to find out how much? Um contrast on how much detail size really is a balancing egg between contrast in detail and then we can play around. But here, how do you want to do it that way wouldn't do it more that way, and you just kind of just play around that. And then finally you get to sit your white blank points is where you do your clippings. If you want to clip somethingto white, you can pull this up for something to pure white, which we're not doing here, but sometimes you get a photograph and it looks kind of milky if you've seen it. When the whites when you're working in the stairs, no white to kind of milky and washed out. This enables you to pullers and force himto white, which you will lose a little bit of detail, but it makes the photograph had more punch and it's more intriguing, same thing here, the black point. Sometimes you want to have some blacks, and you wanna have some shadows in there. Because that gives it its foundation and once again you know I said in some areas you want to keep him dark because his mystery in there and you know part of thing about photography is it's you know it's an art form and you want to have mr you want to have a story so we can also do other things that he had color temperature become warm it up look at that make it beautiful, warm or make it very cold so you know, right now it would be called in shadow this is what it looked like before the sun came up and once the sun came up it actually looked really more like more like this this is more the colors that I remember when I was there at the time and at that point you could play around the color saturation so you could pull it down a little bit or you know, because this is one of the things here I don't like in hdr is when people do this once again you know it's art so everybody has their own thing but I like to just keep it settle, you know, and try to reproduce what I saw at the scene and at that point here now just a little just to tell you that's actually okay button down here but the screen resolution it's not showing so that's why you I don't see the ok button, so I just he in turkey to apply it hopefully that'll working okay, we'll go back it's coming it's coming and see how sometimes it gets like really weird and frankie when it goes to the photo shop that's a preview once again, if we go into the image we choose the mode and when we get back here always just go back to exposure and gamma and sit zero one that zeroes it out and that's exactly what we were doing it for automatics and we can click ok and open it up here now you can do more post processing and here I keep trying to zoom in there so this point here, once you've got it in photo shop you can sharpen it you can you can do different things with layers you could do curves you can increase your you contrast stuff like this you're not stuck with what you get here, but if we zoom in here you see it's quite natural you could see is a lot of detail for using that particular method versus the the other term mapping method is not as sharp as I would get using the image compression, so what you might want to do is add a little sharpening in here afterwards because don't forget to you also multiplying whenever you take more than one exposure you also multiplying the lens blur so we could go here we could look at it and say hey let's sharpen us up a little bit there we go bring out a little more detail play around that maybe not so much and go there and this assaults really cool and then at that point there you know that's that's a very natural looking a sheriff effect if a lot of people saw this they might not even know it was an hdr image because you know that's kind of like retouching you know, in the early days of each terms like you've got to make it look hdr is going to be like hard core you know? Grady grainy looks like an illustration and it's kind of matured a little bit now now please when I say that don't think that I'm against the illustrative type of hdr because I love it I do love that and I do it a lot in architecture and stuff like that so I'm not trying to be if I coming across this being a very opinionated about certain styles based their apologize it's not my intention I I enjoy all forms of art but having said that you know what I'm creating something like this I wanted to look natural you can make it look you know isn't actually white doesn't have the location they are just like retouching doesn't have to look like it was retouched so it depends on the affected going for so what I'm going to do here now is something a little bit slightly different is I'm going to go over here back into photoshopped what I'm gonna do is I'm gonna open a thirty two bit image that I previously I previously saved ends see, this is the beauty about merging its hdr and saving a thirty two bit images I could just open it right now I don't have to sit and go through the whole process again, so I actually have, you know, a driver, just hundreds of merged hdr is just sitting there waiting for me to work on them and do different things with them. So this point here, I want to do some, you know, some cold tongue that being want to do some stuff, so what I'm gonna do is I'm going to go up under the image here and we're gonna do a couple of different things now if you want to, just to mention because you might have seen, you know, I was working with the you know what? The plug ins here, another great plugging his nick eyes, jarrah fix pro tune is another great amazed here, so I'll just show you so you can see it because I know everyone has their around favorite tools and you can see here it's got beautiful in the face, sorry that was, um it's got some really good. Ok, here's, the things I like about nick is these guys have the most elegant interface. They have some really good post processing tools here. You know, the color and tonality and stuff like that. So I could do vignette ing and all that kind of stuff right here, inside the plug in without having to doing photo shop. So it's, really good for that. You know, they go cem presets and you can see it's a very kind of a different look. And really, sometimes I use nick. Sometimes I use automatics. Sometimes they use photo shop. They all have a completely different flavor. If you start to kick around with them, I think they will have trials and you can see that they they really have a different favorite. I like to call them nick. You know, to me, it kind of has, like, a really harry potter kind of a field. And if I'm going for that kind of harry potter field, I like to use it, so I find it, you know, it's fun, it's a great time mapping. And if these also merged days there too. So I'm just gonna get out of there, um I'm gonna use thie you know if you want to do this and photoshopped to you can go into here image adjustments and you use hdr toning aa lot of people use this on a single image which you can to create a nice effect and we're just going to call it in effect because it's not hte ers and effect um if you do it on a single image because he's a time a single image hdr you know, let me let me get on a roll horse for second single images there hear that term and I think what it's done is it's caused a lot of people to be confused about hdr what I've done I think to this point is I've shown you what true hd ours which we were working on pulling out detail and highlights and shadow simultaneously and getting that detail in a sense of that hdr single image hdr is and list of gotta hide enemy grange camera, which is a hide an image range sensor which could capture all the detail which you know we're not quite there yet although roy is getting closer um single image hdr is like saying single speaker stereo you get a mano signal you put into speakers you've got a mano signal into speakers you do not have a serious signal it's not split it's not separated that frequencies are not different just like a single image hdr well I know there's a lot of techniques and you know forget time maybe I'll show some of those techniques you know I know people take a raw image, they expose it one way then they expose it another way layer it on top of each other must get out and bring out mohr range and and it's like a it's a scare no it's not hdr what you've done is it's still ld on low dynamic range because you I limited to how much data is on that sensor. Sometimes you can ring every little bit of detail out of that sensor and create an hdr rich look but it's still not hdr deity kind of doesn't make sense, so there is a difference between realized they are and foa foa hdr first it was great in fact, if you've got a shot where you know this probably you know wouldn't work is this guys blowing out? But the car I mean is enough sometimes is enough detail in one shot that you can apply a term mapping effect and get something that looks just like an hdr but once again it's not technically hdr. In fact, once a tone map it and converted to sixteen or a pit space it's no longer hdr it's on ly hdr winners in the thirty two bit space does that make sense so afterwards you call it an issue of it is actually a eight bit interpretation often hdr images maybe I'm being overly technical I am but I think that there's so much confused I'm tryingto I don't know if I'm succeeding but I'm trying to like clear up the confusion a little bit um so let's go here and we're just going to move on and we're gonna get automatics we're going to go into the tone mapping here and that's turned up this I'm going to grab some of my presets and once again if you want to load these presets um if you downloaded them just go to you can choose here load settings you can load them there or the easier way is I don't know where they are on windows but on the mac if you go under your library applications support photo matics there's a folder they just dragged them into that folder so you don't have to manually load them in one of the time it's it's much quicker way bringing them in so I've got some of these that I created I called a severe and it's not really that sophie I used to be much most of here and I don't know I think the more you use it the most subtle like get with it and so I've got different you know more of a natural um and so I like to just kind of start with the's is a good starting place and no pre set you know and here's the other thing too when you use a present no percent is ready ah precent is a good starting place um but remember, every photograph is different, so once you use a preset tweak that pre set and make it work nicely on your photograph so here is the main things I'm going to show you in here the difference between you know, riel realistic and surreal a lot of is the strength here this is how much of the effect you're applying. The other thing is we get a detailed contrast, pull the detail up it makes it like a really chiselled and here so it makes him or photographic so the big ones here that pulled down the smith highlights I will pull that actually it's not looking too good there, but typically you get that you get these up here and then to change the flavor there's the lighting adjustments here and see this is changing the way it's actually interpreting the pixels so you can change the field. The other option is to choose lighting effects mode and seeking go it's a real plus and you can see we get that sat down like the halos I would be working on getting rid of the halos and I know a lot of people get halos up here the way to get rid of those users to change this myth highlights see that now get rid of the sailors so make sure there's no hey listen you focus from any artistic standpoint they are not good no matter what he was just not good so just cleaning up here using smith highlights and so we can also change it here from surreal we could get more medium natural and you can kind of see how it's changing its its feel there and you know, just kind of do that, so I'm going to go to medium I should just get backto lighting mode here and I'm going to give this a little bit more strength and we're going toe kind of pushes up just a little bit just for fun and the gamma here is the flavor once again really contrast the very you know, sometimes you see this a lot next year and as a little milky for my liking, I'd like more shadows a little bit more punch and also the highlights I could turn those down a little bit just it feels washed out like it's been in the sun for like twenty years, so just bring it back a little bit, give a little punch and you could do that. The black point too worth mentioning tio this black point here there's a clipping down there which is you're not seeing in here I don't know if I could get to it and you see here the micro smoothing is another thing, too, that will help you see that's moving it out, but down here, the shadow clipping, if you've got noise in your shadow and it's like black and it's, like really, really grainy, you can take a shed or clipping, and you can pull that up, and it will clip those shadows in those areas where that see that house, it kind of starts to clip there, and so that will force those two pure black and second get rid of that horrible noise in there and it's moving in the shadows to me that you've got halos of stuff around the shadows works the same way as the highlights meeting. So let me go back here, and you can also change the temperature, which is beautiful. So this point here, you know, we're looking pretty good, and I'm going to apply this now, so what I'm going to do is just have the, um and two key here and it's it's applying it, so we're going to do something different now we're in the thirty two, but space, the first thing I want to make sure is my preview is correct, and I'm going to go up here and I'm going to go to my thirty two preview of I don't know why before when I did this it looked funky but seems to be working correctly now, and the reason I'm sitting this now as if I says to zero and one what is this doing is? I'm a thirty two bit space, but it's giving me an accurate view of what I'm looking at because what we're going to do, some thirty two bit adjustments now, and I don't want to be guessing what it looks like right now got it at the baseline, so set to zero m one, so that is the baseline of this I'm going to give it to the timeline because we don't need this and we'll zoom up a little bit bigger. There we go so we can actually see the photograph, isn't it better when you can see it? All right? So we're doing this, so we're going to do some things you'll see here under the image adjustments that some adjustment layers are available in the thirty two bit space see that's we can go back into the hdr tony, if we want, we can go into the you know things. So what we're gonna do is I'm gonna create that member did that kind of ah earlier on, when I was showing the slide show shows that kind of gray scale thing here's a way to get just kill a grey scale is going to the channel mixer. Inside of here. And this is in the thirty two bit space and we gonna hit monotone. So what it's doing is it's pushing it too gray scale. But now we've got because, you know a whole different topic for a whole other day. Black and white conversion. You want to keep these two about one hundred percent when you move these and this is still one of the best ways of converting colored or black or white because everything that would be in the blue, like maybe the sky notice that this gets affected when I change it, see how it fixed different parts of the photograph. This is everything in a green sea, like the leaves up here for us to go here, and I want to make those really bright I can make them really dark. I can see that. So you're affecting those different underlying tone, saying with the reds so monochrome, what it does is it just sets it toe monochrome, but we're mixing from the red, green and blue channels were bringing more or less in, which enables us to get these like amazing black or white conversions and typically you wanna have it. See how that warning comes when it goes over a hundred percent, um, it's, kind of like the expiration date on milk. You can ignore a little bit but don't ignore it too much because some funders air lighter than others I mean, don't drink the glass of milk but if you're desperate for a cup of coffee and if it doesn't tend to little bubbles on the top it's okay, so generally speaking you can usually go between ten and twenty percent over are under your so I'd like to play around with this here and let's get a nice grace caliphate okay, so now this is where we're gonna kind of bus down and get crazy what we do here is I want to give it a you know feel so we're gonna get out of the monarch right now and you turn it off but notice is still it's still his monochrome so that's course of what we can do now is we can start playing around the different colored channels so we can go here and we complain and say I would get these cool colors now it's almost like creating, you know, do it owns or tri tone is a quite tones I guess would be triton's because it's three channels um so you know, we just playing around these if you want to change you can change that constant here and it affects it, you know, like in a completely different way so we could get these really cool effects just trying to get a nice color effectively just playing around with it now here's the thing if you get like really you get just you know, sometimes you've missing around you're playing around and it just goes great and it just goes so crazy you just can't get it back and you're just like man, I was having fun with this creative experiment but I just created too much and now it's a mess so you just hit the monochrome button again sets it back to the baseline to end it off and we could get back and start experiment against this almost like a do over button the mulligan bin and it will stay in greece that but look at this see how the colors of changing and a background this is the foreground of the car I mean, I just think it's beautiful myself and uh and then I can click ok and then if I want to do something different I could just have come on a j and I can create a layer in thirty two bit space and I could go in here and I could do this again let me get back in here I should have I was naughty as very, very naughty I should have used adjustment layer usually I do um but in this case we're not because I didn't but I would say use using adjustment layer and I actually wanted to do it I'll do an adjustment later on here so that channel mixer here once again here it is and we hit monochrome bam resets it turn it off and we can go to these different channels and we can play around with different ways of interpreting this I just love the subtle color the way it works in different parts of the image that we go through the different channels and this is one of those things you could just sit all day and experiment with it because there's so many different ways you can go with it and it's just it's just fun but I just love in a thirty two but space could see it's not liking a sepia tone with things get all muddy and you lose him out of that that detail sometimes a constant is somebody you can use to really do something special uh I'm gonna go here give it yeah I like that I'm liking that. Ok let's let's just go there and we just we're not finished but we'll call that dunn and att this point here you'll notice that an adjustment layer is affecting all the layers underneath if you want to just affect the other one directly underneath if you had the option key then you get the clipping tool you can clip it it's also available under the under the properties I think it is under the yes here we continued in there said he had that button here and only affects that top layer and it doesn't affect the layers underneath and the reason I'm going to do that because now I'm going to create a mosque and I'm gonna must this house if I ended this monster hit come on I so that's hiding everything in the mosque or you could just under the mission because I know some people don't understand my accent so I'll say do it here on the info palate here on our properties we go in here and there's option c here that see the inverted so by inviting the moss what we're doing is hiding in here's a tip is the reason I'm inviting the mosque and not filling it with black is because if you fill it with black and will fill the boundaries of that photograph and later on if I crop it right logic or I bring it in and you get those edges and giving head those ages there from the mosque and those ages would come up because you filled the visible area with black if you invert the mast it fills the hole infinite space or that whole thing becomes a black mask which means that if you crop and move it around you don't have ages anymore so so always used command I never fill it with black eye snicker every time I see someone fill it with black because I know what's going to happen because it's happened to me before you know and you print something universities little fine lines have they get there because you didn't invent the musky filled it with black so now we got this must everything is completely hidden and you'll notice with this clip to see that how it's it's uh the colors are able to show through underneath see how it's not doing anything if it wasn't clip here, let me do the option key again see even though I can hide this layer is still affecting you see that even the mask on so it's only now affecting the top layer which means I can go in here and I can grab a white brush and now I'm gonna wipers let me talk for a moment about some of the brush sittings using your person sensitivity with your tablet there's a couple of things is one of the things that I just hate is when I have size and transfer so basically a pass itty weaken turn to pin pressure, right? So sometimes when you have a pass ity and size on at the same time it's really annoying if you ever had that when you're working in your press hard and it goes nice and thick and then you go like because you want to just bland something in but then the brush goes thin as well and it's really, really annoying and it's in the brush sittings. Here you can, you can set them here. The two main ones. I always use size and transfer. So a lot of the time, if I'm blending and a mosque ing, and I'm doing a lot of masking work, I will turn off the pen pressure force shape for science, and then you can always access it by clicking up here. See that as I click up here. Now it comes on. He is the trick, though see capacities on if I click that nothing happened. See that that's, because it's already on the bus, if I tended often the brush now, I continued on enough up here in the bar, so if you want a white, doesn't work in the bars because it sent to that brush, and the reason those brushes are like that, that they override the city's is because when you build a brash there's, a lot of things you can put into a brush that really, really important for the way that brush works, and you don't want to be accidentally changing nose and thank you don't want anybody changed, because the brush will get messed up, so if it doesn't really matter if that brush has a past city, or it has size then those will be turned off here in the bushes panel so one of the things you could do is you could just turn them off and control it up here which is what I do a lot of time and then what it does that a lot these puppies down see these padlocks so if I lock these down it doesn't mean that I can't take these aren't off because I can but what it means now is if I changed the different brush those attributes and now look toe off so that means as I changed my brush I don't have to keep going in here intending these on and off all the time so I can control them up here to say it does kind of make sense because I know a lot of people get confused with these and you could also tell what the brush is going to do if you look at the brush here you know it's a soft age oppressions get it first took shape um I know it's kind of a little off topic, but I think this is worth going through so he's a brush tip shape here so if we go to a pass ity notice it shows it fading out of the ends so that burst preview what a face that the ends that means precious sensitivity is on capacity meaning hot dry pressure work like a pencil basically and in for shaped the size notice it tapers so if I turn off it's only there will be a high ditch and it tapers and then when it's also on hopes tenor up here you can see that so we can control the pass that you see the a pass cities often it's only size now it's there's a taper which means that capacity is not going to change your pan pressure only the size all right, I think that was really worth of any child because it's I know for the longest time I really got stuck with the tablet doing that so he is a cool thing now if we use a pass it e I'm going to go here with my brush and my pan pressures now sit capacity I'm bringing this up so what I can do now as I can paint in here and I could begin to paint in the color on the top here it's it's subtle it's pretty subtle but you can kind of see how is changing now at the bottom there someone's going to go down make a smaller brush here and what I can do is just gently paint this in as much or as little as I want in these areas and I'm not going near the ages right now you'll notice and I want to make sure I get a soft ege burst you have to harness all the way down much better there's also another keyboard shortcut what is its they these two here if you had the come on option key you could drag and change the size you could drag up and down and change the harness and its control option on the make and when knows this option right drag so there we go so you can control those right there on screen eso anyway so I'm just gonna paint here and I'm painting these in and it's just very subtle so here's the thing when I get any of these edges if I go here now and I turn this off and I do it to size watch this see them age there that tire see how I'm very few that really sharp in there so that without having to change their small burst because I'm using a light touch there and it's dropping the sized and I do it big here gives me a really big edge so a lot of the time I like to use a pin pressure like this so I'm not always have to change my berth size and a passage that's really super cool they call it are you ready for some q and a what do you think? Um yeah, yeah let me just show you that um you know, this is just a christian cool so master doc has very technical question would like to know what kind of car that is oh, that is a must staying five hundred gt in fact, it is eleanor from a movie gone in sixty seconds actually did some work with them and that is the what's, not the confident maybe, but is a replica of the car from amelia cool uh, studio and you guys have some questions you wanted throw colin's way if our match if so, is the physiology question if our eyes can see a wider dynamic range there, a camera, then why, when we make a chart images, does it look fake rather than riel that's a very good question, and the answer is actually two fold one is it depends on how you do the hr image because you don't have to make them look fake and part of it, I think is learned it's kind of like a learned thing because you're used to looking at photographs in a certain way, and so you're never used to seeing a full dynamic range, so when we look at photographs we kind of don't really associate I mean, we're so sad with reality in a way that they're not really you know what I mean so s oh, so you're used to looking at like, dynamic range just suddenly put on the stand immigration like that looks weird it's not that looks weird it's just you're being used to looking at a low technology print for your entire life cia trained to look at that so we have a couple of questions from the internet blue door photography us can you have the same results with portrait's and then we also have a similar question from duke in park city, utah and can you talk about each year with live people thank you I have actually is a very I have a technique that I want to show and it's and I'm going to do it right now because this is going really mel that down is absolutely um do it and don't do it andi I say I say what I mean by that because I'm just gonna go to my image moment like room ok here's the thing typically speaking you know as a as a cliche um hdr you know when you really turn map because I didn't really get too much until like really pulling out all the detail because I think you know you could kind of see that info dramatics and stuff that looks great you know, if you're in china and you found one hundred twenty year old person um and you want to like really bring out the character and delivering coals and everything like that that's just going to be incredible now you go and you know if your guy you you know are go you know, go shoot your girlfriend and um do that to her she's not going to be a girlfriend anymore you're not gonna like you I mean it's just not very flattering because it's like wow, I didn't know I had those pores and well I thought that's it went away last week you know it's it's it be careful with it it could work with guys if you're going for a gritty kind of sporting thing I but then again you know that's a little bit of ah you know, generalizations because I gotta be honest, I'm a guy and I don't want photos of my complexion like out there like, you know, overemphasizing my pores that doesn't make me feel more masculine and actually makes me feel like I need to wash my face I mean but you know, but it is a good creative infected it looks good in black and white, so this is what this is what I do. I'm going to take these three photographs here and I'm going to emerge these together into hdr and we could merge them together and taste their pro and it's going to take a second and what it's doing that? I mean, is there any courses kind of related to that should be answered? We had one this is sort of going with fake hdr so it's not exactly, but I think it's a quick one s o keira asks if you have an iphone or smartphone and get an hdr app for the phone camera is that a similar single image? Well, I should the iphone has a stair built in which means that it takes multiple exposures emerges them together and I think the aps do that as well. S oh yeah does its spot was fun to play with so at this point here you know if you're getting moving when she actually did a really good job of holding still so I don't have to remove the ghosts on it I'm just going to click ok? We're gonna bring this and I'm going to give this one a little heavier treatment and I'm going to show you I'm going to show you what I'm gonna do this uh well you'll see so imagine together by the way is taking a little longer I could have drop these down ajay pegs and moved it much quicker, but I'm actually moved in these from raw files and the reason I'm doing that is because of rafa has more dynamic range it's not goingto necessarily bring out mohr more details as I've already captured in a neighbor what is going to do is going to reduce the banding where were they overlap between the photos are there's more details so you're not going to get that the banning you know which looks like kind of like rocks and hard ages and just so anyway, let's go here and we're gonna choose a filter here and I'm going to go into the photo medics and I'm going to do a time that right here and I'm gonna grab one of my presets and if you didn't catch that you can download these um first of cafe don't come forward slice creative life in case you missed that these air my photo matics process my actual real ones that I use and I'm giving him to you for free anyway, so we're going to do this here and I'm just going to find something that looks good to start with trey michael extreme and I'll just warming up oh that's horrible see that's why presets one size does not fit all uh sometimes I just like to use it as a place instead of let's go back to collins of years probably good place to start and now I'm just going to play around he of the strength now don't worry about her too much right now you pull the situation down a little bit and what I'm doing here luminosity this is the brightness and you can see like all the texture of stuff coming out there and we can play around with this so just getting I'm going to go for very, very for lack of better term, I'm going to use a very hdr e look on this um and a ski areas to see this a kind of grungy effect is starting to happen now this is kind of a lot of people go for this and this is where luminosity really kicks in here at this point and it's tonight gamble a little bit there we go so that's looking pretty good now she looks atrocious, doesn't she? Um so I'm gonna click ok? And we're gonna apply this but that's okay it's okay for her to look atrocious right now? Um, so what I'm going to do is we actually just going tio push this all the way through and I'm just going to choose image mode and I'm going to bring this down to a straight to sixteen bit mode. I'm going to go up to my exposure and gamma and I'm not going to spend forever working on this because I know where I don't have room for tight and I'm going to click ok, and so there's a tone map defected, kate so now this is what I do at this point as I go back here to light room and then I'm going to find my medium exposure, which is this one here and let's puppet opened that looks good, she looks good there and now we're going to open this as a in footage up as a smart object now, the reason I open it is a smart object because it retains its roar information, which means I can go back and I can change the color if I need to sew this point, I'm just going to drag this hold down the shift key, release it and drop it right on top of this other photograph it's not coming through there we go, so just took a second to see that's right on top of the photo, and what I'm gonna do is I'm just going to remember I told you about the black mask rather than creating a mosque and computing, I'm just gonna hold down the option because the option is means do something different. So I'm going to the option key and create a musk and it's going to fill it with black on a medical. Now we're going to zoom in here and we can see she looks like, not good. This is not her shining moment, so what we can do now is when we grab our brush here, we're just gonna grab it for quite brush and, um, no, make sure there turn off the size, we're gonna go to a passage and I could just paint back your beautiful skin again, see that wow on duh, I just go over here and no more skin eating disease. And I'm very light here. Notice. I'm not going hard on a question. Well, you can tell if you look over here in a must see how is great at that point and our black, because I want to keep that extra detail and that for which I would lose in a single image. So what I'm actually doing is by using precious sensitivity and her clothing. I'm using a very, very light touch, and you'll see it here by ten around see it's great, which is allowing the two layers to blend together, which is keeping the texture. But then I'm going really hard on your skin here, because I don't want that bronze e, and so I don't mind the effect on clothing, see that, but not on your skin. So then, that way, we can do that, and it looks nice.