[Colin Smith]

I originally wrote this tutorial for Photoshop CS3, in the years since then, Photoshop has gotten a
couple of big upgrades in the HDR area, and we are now at Photoshop CS6. I have also learned a
great deal more about the subject, so I decided it was time for an update.

What is HDR and why do we need it?

I n this tutorial we will take a look at HDR photography. HDRI (High Dynamic Range Imaging)
was originally used in 3D and is now in full force in photography. Basically it's the process of
taking multiple exposures and merging them together into a single 32 bit image. Let me explain:

A camera is capable of capturing a limited amount of tones in a single photo (we call this dynamic Range,
the range of tones that can hold detail between pure black and pure white). Typically we sacrifice elements
in a photo when we set the cameras exposure. We meter for the most important part of the scene. For
example let's look at the series of images I shot at the Bradburry building in Los Angeles. The center image
is a typical exposure, showing an average metering to produce the most detail possible. Notice that the
detail outside the door is lost because it's too bright. Also the detail on the stair rail is lost because it's too
dark. When you are at the location, you are able to see all these detail with your eye, this is because the
human eye can see a larger range of tones than the camera can capture on the sensor or film in a single
photograph.

The solution is to take more than one photograph and bracket the photos. Shoot a normal exposure
(center image), then under-expose (left) to capture the highlights outside the windows and over-
expose (right) to capture shadow detail. Finally, merge these photos together to produce a single
image with a larger range of tones that can now show all the details in the shadows and highlights.

This tutorial will show you how to complete this process with the minimum fuss.

Tips for photographing HDR

First we need to capture our source images with our camera. Technically you will need to shoot a
minimum of 2 photos with different exposure settings to create a HDR. I personally get good results
from 3 shots. I like to over expose and under expose by 2 stops each. I know this is a bigger bracket
than some people are comfortable with, but for the type of HDR images I like to create (cityscapes),
this works great. If you're shooting people, you may want to reduce this to single stops.
Sometimes you need to capture more than 3 exposures. It really depends on how much contrast is in
your scene. For the example of the Bradburry building, I captured a series of Photographs inside a
dark building in Los Angeles with a sunny day outside a glass window. I needed 7 photos with 2
stops apart in order to capture the entire dynamic range of that scene. You might be able to capture
a lower contrast environment such as a foggy day in a single frame. But once again, for the majority
of HDR photography 3 shots are usually perfect. I set the camera for Auto Exposure Bracket and 2
stops + and -. Make sure that you only change the shutter speed. If you change the aperture, the
depth of field will also change, producing unwanted blurring in your final composite. Use a tripod if
you can, otherwise support yourself on a wall or solid object to reduce movement between frames.

Note: For real HDR, you shouldn't use a single raw image and exposure it several times as some
people suggest. This is unnecessary, as you can use the Shadow and Highlight recovery and
adjustment brush in Camera Raw or Lightroom to bring out the same amount of detail in the photo.
Also there has been misinformation circulating, using the term "Single Image HDR". This is known
as pseudo-HDR. You can't get HDR (HIGH Dynamic Range) from a single SDR (STANDARD
dynamic Range) photo. It's like "single speaker stereo", the digital information just isn't there. You
can apply a tone-mapped effect to a single image for a grungy feel. It's pseudo HDR, but not to be
confused with true HDR.

For more details see the full 4.5 hour video HDR and Photoshop
Time to merge the photos together into a single 32 bit image.

Choose File>Automate >Merge to HDR Pro. This works on Photoshop CS2 - CS6 (CS2 Doesn't
have auto align and it's called "Merge to HDR on versions older than CS5). Choose either images or
folder. I organize each set of photos in its own folder so I used the folder option. Select your photos
to merge. Turn on Auto Align in Photoshop CS3+. Click OK. (Photoshop uses Auto-align
technology that even allows you to create HDR without the use of a tripod!)
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Your images will now be merged into a single photo. You can turn off individual photos by un
checking their boxes on the left filmstrip. If you get some blurring caused by camera shake in the
longest exposure, you may want to turn off that photo. If there is ghosting because of movement,
click the box: Remove Ghosts.
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The merged result is a floating-point 32 bit image. Change the mode to 32 bit. You can view the
available tones by sliding the White Point slider. Note, this slider doesn't change the image, it is
there for you to examine the range of tones, because a monitor is incapable of displaying all the
tonal detail in a 32-bit file all at once.

You could do your tone mapping right now if you like, but I like to save a 32bit negative. Click OK
to merge the photos into a 32 bit image. Now is a good time to save your file. Save as a psd, tiff or
open EXR.

If you are working with 3D and want HDRI for IBL lighting, environments etc, save as open EXR as Maya and
other 3D packages recognize this format. (you are finished here, photographers read on).

In order to use the photos, you'll need to convert them to 16 or 8 bit images. When we convert them
we will create what I call interpretations of the photo. The reason I say this is because we have
unlimited ways we can make the photo look. While we have this huge dynamic range available in
32 bit, we will no longer have those options after conversion. Always work from the saved 32 bit
version, and then convert and save versions (personal interpretations). Avoid overwriting the 32 bit
image, it's our master and we may want to go back to it many times.
Choose Image>Mode>16 bit (or 8 bit). Now we get to play with some fun options. You're now at
the tone mapping part of the process. This is where all the creativity can ooze.

(If you want to make the adjustments without converting, choose view>32 Bit Preview Options.
You can use several of Photoshop's tools in the Image>Adjustments menu. The most important of
these is the Exposure control)

You'll see an HDR Toning Dialog box (HDR Conversion for versions before CS5). Exposure and
Gamma is the default option. Best way to approach this? Set the gamma first, then adjust the
exposure to suit. If you want an image with lots of contrast, lower the gamma. For less contrast
raise the gamma. Finally, adjust the exposure to get the desired brightness. If you want more
control, read on... otherwise press OK to convert

Change the Method to Local Adaption. (There are 4 available methods, but these are the only 2 with
user input).

With local Adaption, you get some advanced Tone Mapping sliders and you can adjust the curves.
The use of curves is optional as they allow you to fine tune the other settings. Set these like you
would normally work in curves, but don't be afraid to clip the histogram a little. You can clip
because you're working with a larger dynamic range than you're used to. Bring out the detail in the
image, but don't forget to put some shadow in there or it will look washed out and fake.

Edge Glow
Once your happy with the curve, adjust the radius and strength sliders to make sure there are no
halos in the photo. (Badly converted HDR images have a glow around the areas of contrast.) The
radius controls the mask blur while the strength decides how strong to apply the effect.

Tone and Detail

Gamma: This is where you control the contrast. Extremes are washed out or super punchy.
Exposure: Controls the overall brightness.
Detail:This sharpens or softens the appearance.

Advanced
Shadow: Opens up details in darkest parts of the photograph.
Highlight: Recovers detail in the brightest areas of the photograph.
Vibrance: This makes the photo more colorful without over saturating areas that are already
colorful. (It's smart).
Saturation: Increases or decreases the overall amount of color. Be careful not to over saturate the
colors as a rule. (Of course all rules can be broken on occasion).

Click ok to convert.

If you desire a more surreal result there are different plug-ins that you can use. My favorite is
Photomatix pro from HDRsoft. You can just get the tone mapping plug in for Photoshop which
works great. Use the coupon code photoshopcafe to save 15%.(code is also good for Photomatix
pro)

Using photomatix tone mapping plugin allows you to get highly detailed textures in your
photographs. You merge in Photoshop as shown in this tutorial. Then choose Filter>Photomatix to
apply tone mapping. Convert and save as normal.

HDR and Lightroom and Camera RAW

A new development in the latest release of Lightroom. 4.2 is the ability to work with 32 bit images.
This is wonderful because you can use the adjustment brush to fine tune areas of the photograph
while working in a 32 bit enviroment. The image below shows the result of working with the
adjustment brush in Lightroom. Notice how I was able to craft the image. (The same is possible
with ACR). Read on for instructions...

In order to work with a 32 bit file in Lighroom, you must do the following.

1. Merge to HDR as mentioned earlier in this tutorial.

2. Save as 32 bit file, be careful to save as a TIF, it will only work with a Tiff.

3. Import back into Lightroom, or open in Adobe Camera Raw.

4. Use the adjustments as you would normally, but enjoy a lot more control and larger range of
tones than before.