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[♪music♪] [ADOBE TV Presents] [The Complete Picture with Julieanne Kost] Hi and Welcome. My name's Julieanne Kost and today we're going to take a look at the new Merged HDR Pro feature in Photoshop CS5 as well as the Tone Mapping adjustment. Now, as probably most of you know, we've supported true 32-bit, high dynamic range imaging in previous versions of Photoshop, which is excellent for special effects houses and photographers. But what we found is that many photographers also want to make more creative adjustments when they take their 32-bit images down to16-bit. So whether you're starting in Bridge and selecting Tools and then Photoshop, Merge to HDR Pro, or if you're starting in Lightroom, or in CS5, you can actually start in Photoshop using the new Mini Bridge. You simply select your range of images, and then using the fly-out menu here, you choose Photoshop and then Merge to HDR Pro. Now, while this is processing, we should really discuss what the problem is we're solving. As most of you know, if you go outside on a bright, sunny day at noon, and you try to photograph something, it's very difficult to capture the details in both the shadow and the highlight areas of an image. So what photographers have started doing is taking multiple exposures because if you just take a single exposure and say, expose for the highlights, and then try and post to actually bring out detail in the shadows, well, you can get a lot of noise in that shadow area and it doesn't look very good. So instead, by taking a range of exposures, what we can do is we can actually combine those exposures to increase that dynamic range. So I have a few suggestions as you go out and photograph these HDR range of exposures. One of them would be to try to use a tripod because you really do want your images to be aligned. Now, if you don't use a tripod, Photoshop will actually run some auto-alignment algorithms so it's not like it's that big of a deal, but if you've maybe changed a little bit on the camera, then we're going to have to straighten some of those images in order to get them to match, and when we do that, you lose a little bit of sharpness because of the interpolation. Another thing to keep in mind is to keep the exposures 1 stop apart. And, when you're changing exposure, you don't want to change the aperture, right? Because that would change your depth of field. So you want to change your shutter speed or your ISO when capturing these images. All right, excellent. As we can see, the new default for Mode is going to be 16-bit because we assume that you're going to use all of these creative controls in order to convert your image to 16-bit. However, if you need a 32-bit image, you can simply select that from the list. But let's take an in-depth look at all of these options. Now, just because they're listed in this order doesn't mean that this is necessarily the order that you have to use them. So for example, if you wanted to add some contrast between your shadow and highlight areas, that's what the Gamma slider's for--to either increase or decrease that contrast. You can use Exposure to either brighten or darken your image, and then once you get it kind of dialed in approximately how you want it, you can use either the Shadow or Highlight sliders in order to either increase the shadows-- kind of give like a fill flash to that area-- or you can decrease them. Same with Highlight. You can either increase the highlights, or you can compress just the very brightest points of your image to bring them down into a printable range with detail. We can also add detail with the Detail slider. This is going to make the image look a little bit sharper. If you go too far, you'll notice it's getting that really crispy look that's kind of popular today with HDR. And we have the ability to change your edge glow. We have both a Radius slider-- the radius is going to control how many pixels are affected by the glow-- and the Strength will determine how much contrast there is in the glow. So obviously that's a bit much; we'll tone that down and come down here to the bottom where we can change our color. Now, we can change both Vibrance and Saturation. The Vibrance, when you increase it, you'll notice that if you have an image that has flesh tones in it, the Vibrance is going to increase the color ranges that really aren't flesh toned, so you'll see a big increase in maybe a sky area or the grass area, and less of an increase in somebody's face. It's a relative slider. If you simply want to increase the saturation of everything in your image equally, then you would use the Saturation slider, because it is not a relative change. And, of course, you can use a combination of both of these to achieve exactly the look that you want. If you wanted to go in and actually refine this further as far as the tone curve goes, you click on Curve, and then you can click to add points to your curve to either increase or decrease contrast in your image. But did you notice up here, in the upper left-hand corner? We're getting kind of this odd artifacting, and that's because between exposures, the wind was blowing and so the leaves were moving, and this has kind of been the downfall to high dynamic range images that are shot with multiple exposures. But in CS5, we have the ability to simply click to remove the ghosting, or to remove those objects that move between exposures. You can even select which exposure you want to choose from by simply clicking on that exposure down here in the thumbnail view. Now, you'll notice that I clicked on the darker of 2 exposures, and if we think about that, the reason behind that is because when you're overexposing some of your images because you want to get the detail in the shadow area, my lens--when it overexposes in really bright areas, especially if it's a wide angle lens on the edges-- I get chromatic aberration, which is just a little bit of a misalignment of the pixels. And when you get that misalignment and then you enhance it using all of these creative tools, it can really stand out. So in my case, I'm much better off if I select one of my darker exposures to select which one is going to take priority when I remove that ghosting. Now, once I'm finished, I can save an Auto Response Curve if I want to or I could save a Preset, which would include all of these different options that I have. And in fact, I can then share those Presets with other people and I can use the same Presets when I open different images. So here we can take a look, for example-- this is kind of a more conservative change that I might make to the image-- versus something that might look completely surreal. And of course, you can see that there are additional Presets that ship by default that you can use. Some of them are for monochromatic, so you don't have to keep color. We can go in and create a beautiful high dynamic range black and white image as well. Excellent--all we need to do is click OK and Photoshop will take those individual exposures that it's already configured into a 32-bit image and reduce that down to 16-bit using all of the creative controls that we just applied. Excellent. But I know what some of you are thinking, so let me close this image and I know this will happen--you want that same control-- that same set of adjustments-- but you only have one image, so what can you do? Well, let's select this image, and you'll notice from Mini-Bridge, I can simply drag and drop it directly into Photoshop, which is quite nice. So now I just have a single image. This is not HDR--you can't have a single image HDR image. It just isn't. So what I'm going to do is I'm going to choose Image, and then Adjustments and come down to HDR Toning. And I use this quite often, so I've actually applied my own custom keyboard shortcut to it using the Keyboard Shortcut Editor. Now, you can see that I have that same set of adjustments-- Even the Toning Curve and Histogram right down here. So if I want to go in and change my exposure a little bit, maybe increase the contrast with Gamma, and then just bring down my Highlights a little bit, bring up my Shadow, and then add in some Detail, we can do that using the same set of sliders that we just familiarized ourselves with with the Pro HDR. And of course, I can save and load my Presets and we can select from the same set of Presets so if we've done a lot of work in the Pro HDR, I can then come and use those same Presets here. For example, I've made one right here that's just going to add a lot of punch to my image. You can see this also has a larger Radius, so that I'm not getting those really bright edge halos here, and I've kept my Strength down a little bit. So whether you're taking the time to photograph multiple exposures and then combining them using the Pro HDR feature or if you just have a single exposure but want that same HDR look and feel, all of that is now possible in Photoshop CS5. I'm Julieanne Kost. Thanks for joining me, and I hope to see you again on the next episode of The Complete Picture. [♪music♪] [ADOBE® TV PRODUCTIONS]