![]() ![]() Click and drag the Quick Selection Tool over your sky to select it.įrom the Edit menu choose Copy and again from the Edit menu choose Paste. Select the Quick Selection Tool in the Tools panel and check the Auto Enhance option in the Options bar (this will help to refine the edge of the selection). Switch off the visibility of the Background copy layer and click on the background layer to select it. The next few steps will help resolve any remaining halos that may be apparent in the sky of your HDR image. Note > If bright halos appear around the edges of your subject you may like to back off the ‘Darken Highlights’ slider slightly. These very aggressive adjustments will give your image a HDR post-produced appearance that is often referred to as ‘Tonal Mapping’. In the Shadows/Highlights dialog raise all three sliders to 100%. Go to Enhance > Adjust Lighting > Shadows/Highlights. This is one of the contrast blend modes so the visual outcome will be to raise the contrast of the image. In the Layers panel set the mode of the copy layer to Soft Light. This will ensure the color saturation does not increase when we take the next action. Go to Enhance > Adjust Color > Remove Color. Right-click on the new background layer after the file has been flattened and choose Duplicate Layer. In the Layers panel choose Flatten Image from the fly out menu (we no longer have any need for the original exposure on the background layer). ![]() Enfuse is every bit as good as Photomerge Exposure. *Note > An alternative to Photomerge Exposure for Elements 7 users is EnfuseGUI which is currently available as a free download (show your appreciation with a donation) or the budget ‘Bracketeer’ for Mac users which uses the Enfuse engine. I have then selected Done at the base of the Photomerge Exposure dialog to merge the exposures. For this project I have dragged both the Highlights and Shadows slider to 100 to achieve maximum detail from both exposures. In the Photomerge Exposure dialog go to the Automatic tab and then select the Smart Blending option. Go to File > New > Photomerge Exposure (new for Photoshop Elements 8*). Many HDR workflows use more than two exposures but the two captured for this project provide good shadow and highlight detail without the need for additional files (the advantage of shooting Raw). The files used in this tutorial have been optimized from the original Raw files to enhance the shadow and highlight detail. This also goes for fast-moving clouds and anything else that is likely to be zooming around in the fraction of a second between the first and second exposures. If there is a gale blowing (or even a moderate gust) you are not going to get the leaves on the trees to align perfectly in post-production. The only other movement to be aware of is something beyond your control. The camera will bracket using the shutter speed rather than the aperture to avoid capturing images that have a different ‘depth-of-field’ of focus. Setting your camera to ‘auto bracket exposure mode’ and using a remote release means that you don’t have to touch the camera between the two exposures, thereby ensuring the first and second exposures can be exactly aligned with the minimum of fuss. One or two stops either side of the meter-indicated exposure should cover most high-contrast situations. Take two exposures – one overexposing from the auto reading and the other underexposing from the auto reading. mount the camera securely on a sturdy tripod. To make the post-production easier we need to take a little care in the pre-production, i.e. The idea is to montage, or blend, the best of both worlds (the light and dark sides of the camera’s not-quite all-seeing eye). If we can’t fit all the goodies in one exposure, then we’ll just have to take two or more. A reflector that can fill the shadows of the Grand Canyon has yet to be made and diffusing the sun’s light is only going to happen if the clouds are prepared to play ball. For the landscape photographer there is no ‘quick fix’. Landscape photographers, however, have drawn the short straw when it comes to solving the contrast problem. Wedding photographers will deal with the problem of contrast by using fill flash to lower the subject contrast commercial photographers diffuse their own light source or use additional fill lighting and check for missing detail using the Histogram. You may be able to see the detail in those dark shadows and bright highlights when the sun is shining – but can your image sensor? Contrast in a scene is often a photographer’s worst enemy.Ĭontrast is a sneak thief that steals away the detail in the highlights or shadows (sometimes both). High Dynamic Range - HDR - In Photoshop Elements 8 TutorialĪdapted from " Adobe Photoshop Elements 8.0 Maximum Performance" by Mark GalerĬontrary to popular opinion, what you see is not always what you get. Download any Adobe product for a free 30 day trial. ![]()
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