We're going to create a high dynamic range image using a single RAW file.
Open the RAW file and load it in Photoshop's RAW pre-processor interface.
Apply some lens correction.
Then, maximize the recovery to bring in all the detail out of your highlights.
Enhance the clarity, vibrance and the saturation to suit your taste.
The next step involves establishing a suitable dynamic range for the image.
To do this, one needs to pay attention to the histogram while playing with the exposure slider.
The good dynamic range is where the histogram is evenly distributed across the entire spectrum
without any major peaks, troughs or gaps.
This image will see that a good dynamic range is defined somewhere along the lines from
about 0.67 EV to 2 EV.
We go ahead and create three separate component images, equally spaced at 2 3rds of an EV.
Once done, cancel out of the Adobe RAW pre-processor and launch Photomatix Pro.
Now we're going to go ahead and load the three created component images into Photomatix Pro.
We're going to need to specify their spacing, in this case 2 3rds of an EV.
Hit OK and allow Photomatix to go ahead and do its default settings to create the initial
HDR image.
This will present an initial HDR image.
Here's where one needs to tweak things a little.
Noting the histogram, we're looking at getting a nice even distribution.
The controls on the left will help us achieve just that.
The strength slider controls the dynamic contrast of the image.
The saturation controls the richness of the colours.
You'll want to balance the two to provide a pleasing effect.
The light smoothing controls control how edges are accentuated.
I recommend using the natural plus or maximum light smoothing setting.
I'll occasionally change the black and white point of the image that usually don't change
much else.
Once done, hit process.
Photomatix will produce a preliminary HDR image.
Save this image as a JPEG and open it in Photoshop.
Each image has different areas that need to be treated differently in post-processing.
To do this, we're going to take advantage of Photoshop's capability to manage layers.
The first order of business is to create our selections.
This image has three distinct sections, the sky which is formed predominantly of highlights,
the foreground of the exterior which is mostly mid-tones, and the frame of the window and
the walls which is a combination of mid-tones and shadows.
To create layers, our first order of business is to create selections for each of these
regions.
In this image, this can be done using the humble quick select tool.
We're then saving each selection to be recalled when creating the layers.
Once the key selections have been saved, it's time to create our layers.
The easiest way to do this is by loading the selection onto the background, applying some
feathering about three pixels or so using the control-shift F6 combination on a PC and
then copying and pasting the content into another layer.
Once all the layers have been created, it's important to stack them in the logical order.
It's worthwhile naming them to provide some context further into the workflow.
We're now at a point where we're ready to treat each layer with some purse processing.
We'll start with the layer for the sky.
Selecting the layer to make it active, we're going to use a plugin called Turp Have Adjust
to provide some structure to the sky.
Once done, we're going to use another plugin called Nick Color Effects to add some polarization
to the sky and give it some more saturation to the blue hues.
When finished, we're going to be left with two layers for the sky, which we'll link
by selecting the both and right clicking them in Photoshop and selecting Link Layers
and Menu.
Occasionally, dust from the camera sensor or the lens will show up, and in this case,
we can clone it out using the clone tool.
Similarly, we'll address each layer.
When using Nick Color Effects for mid-turn and shadow rich regions, I recommend using
the Pro-Contrast feature in Nick Color Effects.
This enhances the dynamic range of the image.
Once done, it's finally time to save the image.
We're first going to save the image as a Photoshop document or a PSD file.
This is to retain all the information on the separate layers.
We're now into the stage of finishing the image.
The first order of business is to flatten the image.
We then crop the image to make it aesthetically pleasing.
In this particular image, the frame for the window forms the integral part of the image.
I've chosen to crop this image symmetrically around the axis centered at the center of
the window.
I also take note of the dimensions of the image.
While not mandatory, I personally resize my images along the golden ratio.
That's 1.618.
This is to create an illusion of a slightly more aesthetically pleasing image.
I also recommend applying a little bit of vignetting, about 10%, to draw the viewer to
the center of the image where we want their attention to be focused.
I do this using neck cover effects.
Finally, we flatten the image and save it as a JPEG in full quality.
If you take a good look at this image, you'll see a lot of noise present.
This is part and parcel of high dynamic range imaging, and is something that can be dealt
with using noise reduction software.
I personally use a piece of software from Image and Armours called Noiseware, which
I highly recommend.
Close the image up in Photoshop and open it in Noiseware.
Here one can choose from a series of presets.
This particular image has been saturated in its colors, hence I've chosen the option
to treat it for full noise suppression, for stronger color.
Noiseware treats the image within a few seconds.
One can toggle back and forth between the before and after image by clicking anywhere
on the image in the Noiseware interface.
Once done, save the image by overwriting the existing file, and you're done.
You now have a finished high dynamic range image from a single exposure.
