Tag: High dynamic range imaging

HDR Images Using Topaz Restyle and OnOne Perfect Effects

Posted on by Nick Roberts
Ohio River Bridges Project Downtown Span #1
Ohio River Bridges Project Downtown Span #1

Click on the image to enlarge it in another window.

This first image was created in NIK HDR Efex Pro 2 from a three frame bracket set using +2, 0 and -2 EV. Because it was evening I shot it with a tripod to allow for the long exposures needed to capture such a low light scene. After merging the three frames in NIK HDR Efex Pro 2  I returned the image to aperture 3 where I made some adjustments to the color channels and applied sharpening.

Ohio River Bridges Project Downtown Span #4
Ohio River Bridges Project Downtown Span #4

Click on the image to enlarge it in another window.

This second image was created by taking the same HDR image as above into OnOne Perfect Photo 7.5 and then opening it in Perfect Effects where I first added a layer with the  Daguerrotype effect I then added a second layer where I overlaid the Palladium Print effect after that I added another layer where I applied one of the Border effects to complete the image. As you can see it gives an entirely different feeling to the image which is one of the strengths of the Perfect Effects application.

Ohio River Bridges Project Downtown Span #3
Ohio River Bridges Project Downtown Span #3

Click on the image to enlarge it in another window.

For this third version I took the HDR image into the newest Topaz Labs product, Topaz ReStyle, and applied the preset named Saffron Sunset. I was amazed by the transformation that Topaz ReStyle made to the image. I didn’t stop with simply selecting the preset; instead I then adjusted the sliders in the preset to give the image the feeling I was looking for. Topaz ReStyle has over 1000 different presets built into it and by previewing them in groups I was able to find one that I liked for this scene. One of the interesting feature of Topaz ReStyle is the ability to select a color pallet to work with and search the entire preset library to find variations that use the colors you have selected. You can then preview the presets with your image before committing to one of them.

I hope these three images help you to see the potential of combining different software options from Topaz, OnOne and NIK to create an image that expresses your personal vision for a particular image. Topaz ReStyle is going to become another tool for me to use when I want to explore variations on a theme and I think over time it will be as valuable in my workflow as the many other plug-ins that I already use.

Topaz ReStyle is on sale for $29.99 (a 50% discount) until August 31  if you use the link below and the promo code restyleit 

http://www.topazlabs.com/705.html

 

 

Faux HDR with Topaz Adjust

Posted on by Nick Roberts
Patina Pickup
Patina Pickup

Click on the image to enlarge it in another window.

Today I’m wrapping up my automotive theme of the past week with this shot from the NSRA Streetrod Nationals a couple of years ago. Unlike most of my current work this image is a single frame which means it isn’t a true HDR image. I used Topaz Adjust to create the overall feeling of the shot and emphasize the sky and clouds while still rendering the truck’s shadow detail. By working with Topaz Adjust I was able to pull out the wonderful colors and tones that were in the image.

I hope you have enjoyed this week’s posts and writings. My goal with SpeedDemon2 is to share my workflow and discoveries as I evaluate and apply the many plug-ins that are out there today. I won’t claim that I’m an expert with any of them but after several years of exploring them I do have a pretty good handle on their strengths and their shortcomings. Plug-ins won’t make a poor composition or a badly exposed image better but when applied to photographs that are well thought out and  well executed they can definitely add interest and a personal style to your work.

Topaz, NIK and OnOne are really expanding the capabilities and usability of their products as they learn from their customers what they, the end users, want and need. The ability to combine presets, modify the presets and also create your own presets is rapidly expanding the range of styles and results we can get without spending hours or days inside Photoshop. Adobe’s decision to stop selling it’s creative suite and offering a subscription only model is, in my opinion, driving this expansion of features and functionality and will ultimately benefit all of us who enjoy creating photographic art.

On that note I want to mention that Topaz Labs has added another incredible program to their already extensive line. Topaz ReStyle is their latest offering and from my short exploration yesterday I think it will be a great addition to my workflow. ReStyle contains over 1000 presets and each one is fully customizable to allow the artist to fully explore his or her vision for their images. It is on sale at an introductory price of  $29.99 (the regular price after 08/31/2013 is $59.99)with the coupon code restyleit.

Use this link to go to the Topaz Labs website and download a free 30 day trial or take advantage of the introductory pricing which is good until August 31, 2013.

http://www.topazlabs.com/705.html

ReStyle_box_clear

Using OnOne Perfect Photo Suite 7.5 with HDR Images

Posted on by Nick Roberts
Old School Hotrod
Old School Hotrod #1

Click on the image to enlarge it in another window.

I took an HDR image that I created in NIK HDR Efex Pro and started experimenting with it in OnOne Perfect B&W to see what I could get from it. The OnOne Perfect Photo Suite is very powerful. It allows me to work in layers so that I can turn on and off each individual layer to see whether I like what it does in conjunction with other layers. For the first image here I applied the Ambrotype preset and then made several adjustments to the paper tone and silver tone, added an Emulsion border and adjusted the contrast and sharpening. Using the HDR image as a starting point helped render the interior details while still maintaining the surface textures on the car.

Old School Hotrod #2
Old School Hotrod #2

Click on the image to enlarge it in another window.

This is the HDR image I started with. As you can see there is a lot of color in the image due to the patina of age. Most of the color in the glass and the wooden steering wheel was too muted for my taste until I adjusted the separate color channels in Aperture 3 after merging my bracket set in NIK HDR Efex Pro 2.

Old School Hotrod #3
Old School Hotrod #3

Click on the image to enlarge it in another window.

For this last image I used the Perfect Effects application and applied a preset that changed the overall color of the image yet allowed me to emphasize the yellow and red in the window sticker. I can’t recall which preset I started with but I’m sure that I adjusted it’s effect to get the result I was looking for. I seldom stop with the base settings in these presets as I consider them to be starting points rather than end results.

The point of this post is to show that digital image processing opens the door to many options when creating art photography. It’s no longer necessary to spend hours in Photoshop building an image only to discover that it doesn’t convey your vision for the piece. By applying plug-in presets the artist is able to look at variations rapidly and decide what they want final result to be. Once a preset has been selected the artist can then make their own changes to it and emphasize the aspects of the image that are important for their vision of the image.

Avoid Cliches

Posted on by Nick Roberts
Chevrolet
Chevrolet

Click on the image to enlarge it in another window.

A cliché or cliche (UK /ˈkliːʃeɪ/ or US /klɪˈʃeɪ/) is an expression, idea, or element of an artistic work which has become overused to the point of losing its original meaning, or effect, and even, to the point of being trite or irritating, especially when at some earlier time it was considered meaningful or novel.[1] (source Wikipedia)

Too often we photographers fall into the trap of shooting the same type of images that we have seen for years. With automobiles and car shows we will often shoot the entire car or some detail like a hood ornament, etc. I suggest you try moving beyond those cliched shots and approach the subject with an abstract approach that still speaks to the essence of the subject but isn’t so obvious.

In this image I fell in love with the bright yellow paint and the complimentary red and blue accents. I chose to use them as leading lines that reinforced the diagonal pattern of the clouds above the car. The blue sky is a direct compliment to the yellow color and also picks up on the blue pinstripes on the red louvers as it also provides background interest to the composition . While there is no question that the subject is an automobile the overall effect is to emphasize color and composition instead of being just another photo of a car.

I used my regular HDR brackets +2, 0 and -2 EV and processing with NIK HDR Efex Pro 2 which allowed me to capture and emphasize things such as the texture in the clouds and the reflections in the the door. I finished the image in Aperture 3 using some minor adjustments to the blue and yellow color channels, cropping and sharpening.

More Handheld HDR

Posted on by Nick Roberts
Supercharger #1
Supercharger #1

Click on the image to enlarge it in another window.

Yesterday I talked about shooting HDR brackets handheld; today’s image is another example of that technique. There are many occasions or situations where a tripod is out of the question. Often those same situations present difficulties due to the extremely broad dynamic range of the subject; that is when a bracket set can assure that the entire dynamic range is covered.

In this image the light on the polished metal was extreme and a single exposure would have left the sky overexposed while the shadows would have been underexposed. By shooting a three frame bracket at +2, 0 and -2 EV I was able to capture the clouds in the sky, the details under the carburetors, the reflected light on the black drive belt in the lower right of the frame and the reflections in the windshield. By combining the three exposures in NIK HDR Efex Pro 2 I was able to bring the broad dynamic range under control.

One of the features of NIK HDR Efex Pro 2 that really helps with handheld images is the Align Images feature that can be applied at the initial merging of the brackets before any other processing takes place. I keep this feature checked for all my HDR work because even on a tripod there can be slight movement between frames; of course when shooting handheld there is bound to be some movement and this feature along with a 20% Ghost Reduction application usually solves that issue.

Finally I used the Balanced preset in NIK HDR Efex Pro 2 as my starting point to tone map the image. A little tweaking there opened up the shadows and tamed the highlights while bringing the clouds out in the sky. I then returned the image to Aperture 3 for final adjustments to exposure and some enhancement of the red and yellow color channels to saturate the brown on the car. A little adjustment to the blue channel saturation and luminance further strengthened the contrast between the clouds and sky. Lastly I sharpened the image and then took it into Photoshop CS5 and used Content Aware fill to remove a small patch of white at the edge of the photo that was there from the corner of the event sticker in the windshield.