Blending two =
images
from one RAW file
Here is a technique for trying to get the best tonal r=
ange
from a single image.....it can be a bit confusing, but give it a go and see=
how
you get on.
Using the RAW convertor convert your image twice. Expose one for the highlights and =
one
for the shadows. Usually there will be a two to three stop spread between t=
hem.
(Dark Frame) Exposed for the Highlights, (Light Frame)=
Exposed
for the Shadows
Put both images onscreen at the same time. Select the =
dark
frame and press CTRL-A to select the whole thing. Press CTRL-C to copy it.
Close that picture, as you no longer need it.
Select the light frame and press CTRL-V to paste the dark frame into it.
If you look at the Layers palette you will now see your
light image as Background Layer and your pasted dark image as Layer 1.
The Layer Mask
This is the easiest manual technique. Starting w=
ith
having done the pasting of the dark image on the light one, add a Layer Mas=
k.
This is done by clicking on the second icon on the lower left of the Layers
palette. You will now see a white rectangle next to the image on the Layer 1
layer.
Click on the background layer on t=
he
palette and the press CTRL-A to select the whole image. Press CTRL-C,
copying it to the clipboard. Now hold down the ALT key and click on the whi=
te
mask rectangle on the Layer 1 palette. The whole image will now turn white.
Next, press CTRL-V to paste the contents of the clipboard onto the white ma=
sk.
You will now see a B&W mask image. With the B&W mask displayed go to
Filter / Blur / Gaussian Blur and set the Radius to about 40 pixels. Click =
on
the Background Layer and you're done.Oh yes. Wi=
th
this technique you may want to select the background layer and add an
appropriate curve to brighten up the dark area a bit prior to flattening th=
e layers.
Once the image has been flattened your work has just b=
egun.
Now you can do fine tuning of Layers and Curves and colour balance, as well=
as
any other adjustments that you care to make. But, you'll be starting with an
image that is much closer to what you'll likely want the final print to look
like than if you had tried to coax detail from the shadows the traditional =
way.
Of course blown-out highlight would have been irretrievable. Naturally any
sharpening should be saved for last, preferably just before printing.
Hope it is of use......Pete
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