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Apply a 1.5-pixel Gaussian Blur (Filter > Blur > Gaussian Blur) to this mask before. Now choose ‘Paste’ from the Edit menu (Ctrl/Command+V). The image window should appear white as the layer mask is empty. Hold down the Alt/Option key and click on the layer thumbnail. Choose ‘All’ from the Select menu (Ctrl/Command+A) and then choose Copy Merged from the Edit menu (Shift+Ctrl/Command+C). Switch off the visibility of this layer by clicking on the eye icon next to the layer thumbnail. If the layers are not perfectly aligned you may need to nudge the layers into alignment using Free Transform as the new Auto-Align Layers command does not work with two Smart Object layers.Ĭlick on the Add layer mask icon in the Layers palette. If they align no white edges will be apparent (usually the case if the tripod was sturdy and the two exposures were made via an auto timer feature or cable release). In the Layers palette set the blend mode of the top layer to ‘Difference’ to check the alignment of the two images. Holding down the Shift key as you let go of the image will align the two layers (but not necessarily the two images).
Select the ‘Move tool’ in the Tools palette and drag the dark underexposed image into the window of the lighter overexposed image (alternatively just drag the thumbnail from the Layers palette with any tool selected). The two images will now open as Smart Objects. Click on Select All in the top left-hand corner of the ACR dialog box and while holding down the Shift key click on the Open Objects button. Click on the lighter image thumbnail and optimize the shadow detail (pay no attention to the highlights that will clip).Ĭlick on the darker thumbnail and this time optimize the highlight detail. Open two different exposures of the same scene in Adobe Camera RAW. This technique also offers superior midtone contrast than Photoshop’s merge to HDR automated feature.
TUTOR ADOBE PHOTOSHOP CS3 HOW TO
The technique in this tutorial (taken from the new Photoshop CS3: Essential Skills book) shows you how to resolve this problem. Photoshop’s Merge to HDR (High Dynamic Range) automated feature has been improved for CS3, but it is still not able to merge exposures where subjects have moved between the separate exposures. Sometimes, however, there is not enough fill light to resolve the problem, so the photographer has to resort to taking multiple exposures (bracket the exposures) and then merge detail from each in a new composite image. Contrast is a sneak thief that steals away the detail in the highlights or shadows (sometimes both).Ī wedding photographer will deal with the problem 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 CCD or CMOS sensor? Contrast in a scene is often a photographer’s worst enemy. Get Photoshop CS5 now at the Adobe Store.Īdobe Photoshop CS3 Tutorial - HDR - High Dynamic RangeĬontrary to popular opinion what you see is not what you always get.
TUTOR ADOBE PHOTOSHOP CS3 FOR FREE
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