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On Sharpening Images - Using ACDSee Pro 7

2014-01-22 18:24:11 GMT

Please enjoy this guest post from ACDSee User Glen Barrington. Original post can be found on dpreview.com.

This article is designed to provide a specific practical flow of work for providing an overall, high quality base level of sharpening using ACDSee Pro 7. Because I have a compulsive need to provide detail and explanation, I have included some background information on sharpening in general. As a result, users of software other than ACDSee Pro 7 might find this text useful.

My advice regarding the various scalar levels of the controls, and how the controls are operated by the user, are specific to ACDSee Pro 7. Other software may (and probably will) require different levels and a will offer a different User Interface for the controls they provide.

A word of warning regarding the relationship between sharpening and noise. It has been my experience that people start to worry about noise too soon. One of the great ironies of digital photography is that noise can actually increase the appearance of sharpness. It is my belief that sharpness often gets ignored or compromised in the rush to eradicate any hint of noise. Finding the ideal compromise between noise and sharpness can be difficult, but I think the techniques I describe can at least lessen the pain and make having sharp images a pretty consistent experience for you.

My advise is to sharpen first without regard to noise. Then when the Base level sharpening is complete (and perhaps after detailed sharpening as well), only then attempt to find the balance between noise and sharpness. I find myself much happier with a sharp and slightly noisy photo than I am with a “creamy” and “plastic” photo with little detail.

If you do any research, you will discover that my advice is the opposite of what many pundits believe. I think their advice is built around the idea that noise is the greater problem over sharpness. I have not found that to be so from my own practice. However you decide to order your noise reduction and sharpening tasks, I think my advice will still help you achieve the maximum sharpening of your photos possible considering the other processing choices you have made.

What is Sharpness?

When discussing sharpness in photography, two words need to be understood, “resolution” and “acuity”.

Resolution is pretty much an “In Camera” feature. This is the ability of the sensor in your camera to distinguish closely spaced objects and parts of objects in your photo. You will often see in camera reviews, photos of closely spaced lines that placed in increasingly close proximity. The ability to see these lines as distinct and separate lines is a good measure of Resolution.

Acuity is the measure of how the edge between different adjacent objects transition from one object to the other. In the example of the lines above, the black bars could be considered one object, while the white spaces between them could be considered another object. If the edge of those black bars is sharp and distinct, the acuity is high. But if the transition between the bars and the white space fades from black, to shades of gray, and only then to white, then the acuity is considered low. Acuity is considered to be an aspect of the combination of your lens and the type of photo processing you do.

Clearly, resolution can be improved by the acquisition of a new camera with a better sensor. Though making sure that your camera doesn’t move or shake during the exposure can help you capture all the resolution your sensor can provide. Learn to hold your camera steady when taking photos.

However, to improve acuity, if you have a camera with interchangeable lenses, you can buy a better lens. And regardless of the quality of your lens, acuity can be improved by careful selection of photo processing techniques.

There are 3 Types of Sharpening

It is important to remember that there is no single sharpening step in post processing a photograph. There are three types of sharpening, each performed at different times of the development and editing process.

Also remember, these instructions are designed to achieve a good, overall, base level of sharpness. After this point, you may well feel the need to do additional creative detail sharpening (or softening) in specific areas of the photo. These instructions DO NOT cover that level of sharpening. In ACDSee Pro 7, and perhaps in other tools, that sort of selective detail sharpening control is relatively easy using the selection brushes and the base level instructions in this article. But the specific instructions are likely to be far more unique to each software title than is setting base level sharpness.

The third type of sharpening, Output Sharpening, is something that I find is pretty subjective, but again the generic instructions below should help you discover that sweet spot.

Base Level Sharpening - This is where you set the basic level of overall sharpness. It can include any sharpening done within the camera itself, but it also includes any sharpening you might do in the “Develop” Tab of ACDSee Pro 7 or the equivalent section of other tools.

Unless, I am shooting jpgs straight from the camera for immediate use, I prefer to do my base level sharpening during the post processing phase. Actually, even pre-sharpened jpgs, while pretty good straight from the camera, can often be improved by additional sharpening or selective softening.

Detailed Sharpening - This is where you selectively sharpen (or soften) specific areas of a photo for the maximum effect on the viewer. This used to be the exclusive domain of an external editor, but the addition of the Develop Brushes in the “Develop” tab of ACDSee Pro 7 allows the photographer to move much of this sharpening to the developing step.

This has been useful, in that one can now, not only set the base level of sharpness in the “Develop” tab in a non destructive manner, but one can also incorporate some detailed sharpening as part of the base level sharpness so that those differences in sharpness remain with the photo throughout the remaining workflow. This can be quite useful, or a total pain in the neck, depending on what you want to do with a given photo.

Output Sharpening - This type of sharpening is often forgotten by beginners, and sometimes even by experienced photographers. The reason it is needed is that, sometimes, preparing a photo for publication to the internet, a magazine, re-sizing it, or just printing, will soften an image just a bit, and the photographer will wonder why his or her photo just doesn’t look like it did in ACDSee Pro 7.

This sharpness adjustment is often subjective and according to taste, but it is absolutely essential if you want your viewers to get the full effect of a given photo. This is usually done AFTER the developed photo has been completed and any creative edits are made, and after the developed photo (which is usually raw, at least for me, but it could be a tif or jpg file format) is converted to the bit mapped distribution format, which for me, is usually an appropriately sized jpg file.

Because of this, the ACDSee Pro 7 “Edit” tab is most useful for this functionality. One doesn’t really want these distribution specific edits permanently incorporated into the developed version since future sharpening and distribution needs may not be predictable.

The Differences Between the Develop and Edit Tabs

While my comment specifically address the ACDSee Pro 7 infrastructure, the “Develop” and “Edit” model is relatively common in photographic software in general. Lightroom and a few other software titles appear to want to blur the line between the develop and edit modes, placing almost every change it can make to a photo in the “Develop” tab and leaving the “true” edit mode to external editors. There is no right or wrong in this, just subjective preferences.


In ACDSee Pro 7, the sharpening controls of “Amount”, “Radius”, “Mask”, “Detail”, and “Threshold” are the same in both modes, and function in the same way. However, the big difference is that you can undo the sharpening in the “Develop” tab at any point, but once the image is saved in the “Edit” tab, the changes are permanent and can not be undone.

Clearly, it would be wise to do as much sharpening as possible in the “Develop” tab rather than in the “Edit” tab. But I would recommend that Output sharpening be done in the “Edit” tab.

Why? For the non destructive editing that the “Develop” tab does, all changes to the photo are stored in an XML file. Each time you display a photo with an XML file, ACDSee Pro 7 reads this file and then applies these changes immediately to the image on the screen and the display copy in RAM (Not to the image saved to disk.) Clearly, if you want someone to see a photo who doesn’t have ACDSee Pro 7, that XML file is useless to them (even if they have another program that uses XML files). So creating a tif or jpg file with the changes and edits applied is the only practical way to distribute and share a photo.

How to Sharpen a Photo with ACDSee Pro 7

Before we can discuss sharpening a photo with ACDSee Pro 7, we need to have a basic understanding of the controls ACDSee uses to create and modify sharpness.

Users of other software will find this section pretty useful, I think. In my research for this article, it became obvious that sharpening controls don’t differ all that much from one piece of software to another. While the ACDSee specific advice might have marginal value to non-ACDSee users, the basic definitions and strategies will have a practical application to them.

ACDSee Pro 7 Sharpening Controls



As stated earlier in this article, the sharpening controls between the “Develop” and “Edit” tabs are essentially the same. So I have arbitrarily decided to use the sharpening controls in the “Develop” tab as a point of reference. Above, is a screen print of the ACDSee Pro 7 sharpening controls in the “Develop” tab, with them resting at their default values.

The Amount Control

The ”Amount” slider controls works in conjunction with the other control settings. However even with the other controls at the default settings, there is still some change as the slider is moved, since the default settings are just that, settings.

The amount of sharpening change occurs by adjusting the amount of contrast around the edges of objects in a given photo. When the slider is “zeroed out” (all the way to the left) no sharpening change occurs and the more you move the slider to the right, the more sharpening changes occur.

How to get comfortable with this control:

  1. Select a photo with faces, leaves (grass or tree leaves are good), and possibly with some big text such as signs.
  2. “Zero out” all the sharpening controls. In ACDSee Pro 7, you can do this by placing the cursor on a slider control, and right clicking the mouse button. This will place that control in either the “Zero”, or absolute minimum effect position. On some controls that will be all the way to the left, on at least one control, it will be in the middle.
  3. Without setting the Radius or Detail controls, move the slider to the right, notice the level of sharpening that occurs. This is the level of sharpening that can occur with the other controls “zeroed out”.
  4. Now set the Radius and Detail controls to taste, and then move the Amount control. Note that the quality of the sharpening change that occurs is different. This control is very much dependent on the parameters set, or not set, in the other controls.



The Radius Control

To successfully use the Radius control, you must first decide if the detail in the photo is fine, coarse, or somewhere in between. This decision will affect how you want to set the Radius control.

The Radius control specifies the number of pixels to adjust around the edges of each object. Higher values will work best for coarser detail while the lower values work best for the fine detail. By setting this control first, you won’t actually see any change to the photo as you set this control since you aren’t making any changes, merely setting one of the parameters for when you ultimately will move the “amount” slider control.

The Radius control for sharpening is a slider bar with a scale increment varying from 1 to 20. Unfortunately, the ACDSee Pro 7 documentation doesn’t appear to state with certainty that the increment numbers enumerate the number of pixels from the edge that are affected, though my experiments with this control tell me it is reasonably close to the absolute number of pixels affected. I believe from a day to day, operational point of view, it is safe to interpret the values as the number of pixels deep into the edge that the change will affect.

How to get comfortable with this control:

  1. Select a photo with faces, leaves (grass or tree leaves are good), and possibly with some big text such as signs.
  2. “Zero out” all the sharpening controls. In ACDSee Pro 7, you can do this by placing the cursor on a slider control, and right clicking the mouse button. This will place that control in either the “Zero”, or absolute minimum effect position. On some controls that will be all the way to the left, on at least one control, it will be in the middle.
  3. Set the Radius slider control all the way to 20. and then move the Amount Control slider to the right. You will notice that the faces and the leaves start to develop a many pixels deep border (called a “halo” by ACDSee) as you move the amount slider to the left, yet coarse detail like the big letters in the signage seem unaffected. This is because the faces and the leaves are often considered fine detail and fine detail is more susceptible to the “halo” effect.
  4. Now, move the Radius slider to between a “2” and “5”, and then repeat moving the amount slider, You will likely notice that the “halo” border that develops on the faces and leaves is almost non existent. It may even refuse to develop at all; yet there is a subtle, but real, overall sharpening effect that you can see, while the sharpening on the signs is VERY minor. If that border halo develops around the fine detail, move the radius slider control closer to “1” till it disappears. There will still be some level of sharpening as you subsequently move the Amount slider control.



Clearly the Radius control is subtle, but very important, in terms of creating the illusion of sharpness. But it is important to remember, that the edges this control “sees” aren’t always the edges you think of as important. This control affects the whole of the photo, what I call the “logical” edges including noise and texture, and not those edges a reasonable person might see as important, those I call the “rational” edges.

The Masking Control

The Masking control targets the edges of objects while ignoring the sharpening of noise and texture, which can occur with the other controls. This control attempts to emulate the sharpening masks that can be created in typical mid level editors and above. Is it as effective as a bit mapped sharpening mask? I think so. Certainly, it is much more convenient, and it does have certain advantages over an editor based sharpening mask.

First of all, it can be done in both the ”Develop” and ”Edit” tabs of ACDSee Pro 7. Since the ”Develop” tab of ACDSee Pro 7 is non destructive ”editing”, that means, if you don’t like what you have told it to do, it is easy to reverse what you have done. And in either the ”Develop” or ”Edit” tab, it doesn’t require the use of layers. If you are new enough to bit mapped editing that you are uncomfortable with layers, this offers a pretty good alternative.

I also like the easy control this tool provides over edge sharpness. At lower settings, this tool looks for edges within the body of objects, but as you move the slider more to the right, the relatively minor interior edges are ignored and greater emphasis is placed on the more delineated object edges.

You need to be careful to find the right balance for this. I’ve discovered that a slight halo begins to appear around object edges as the slider is moved to the right. In this situation, the object edges do become sharper, but that halo slightly offsets the greater sharpness the tool provides. At normal viewing magnifications, or normal viewing distances for printed material, this halo isn’t too noticeable, but if you magnify the image beyond what is considered normal, or if you expect viewers to get “up close” to a print, you will want to make sure that halo is at its minimum.

I’ve found that for foliage, and small detail objects, along with people (especially bare heads and skin) a low to medium masking value is useful. For those more coarse details, a higher masking value will work well.

In ACDSee Pro 7, if you just slide the slider to the right you won’t see any change or accommodation to the photo at all. To see the edge delineation level, you need to press the “Alt” key as you move the slider to the right. Doing this, you will quickly see how the tool identifies the various edges found within the photo.

How to get comfortable with this control:

  1. Select a photo with faces, leaves (grass or tree leaves are good), and possibly some big text such as signs.
  2. Set your Radius, amount, detail, and threshold according to taste.
  3. “Zero Out” the Masking slider. In ACDSee Pro 7, this will be at level “0”.
  4. Move the slider gradually to the right, while pressing the “Alt” key. Note that at “0”, the image is completely whitened out. As the slider moves to the right, the interior edges of objects start to appear in black. As the slider moves further to the right, the object edges gradually start to appear in white, and the interior edges grow together in black. This is a visual representation of the sharpness masking layer found in bit mapped editors.



The Detail Control

I’m not all that comfortable with the Detail control description in the ACDSee Pro 7 help file. It may be accurate from a technical perspective, but it doesn’t really give us any help in figuring out how to use it and I don’t think it is complete in its description. (Look it up if you’re curious. Getting comfortable with the help file is a GOOD thing!).

Instead, I like to think of it as providing us the ability to fine tune the effect of the combination of the Radius and Amount controls. It allows us to shift emphasis from fine to coarse within the spectrum already delimited by Radius and Amount, and it can reduce the size of the halo generated by the combination of the settings in the Radius and Amount controls. Moving the Detail slider to the right shifts sharpening emphasis to fine detail while shifting to the left emphasizes the coarser elements.

How to get comfortable with this control:

  1. Select a photo with faces, leaves (grass or tree leaves are good), and possibly with some big text such as signs.
  2. Set your Radius and Amount according to taste.
  3. “Zero Out” the Detail slider. In ACDSee Pro 7, this will be at level “50”, with an equal amount to the right in the slider as there is to the left.
  4. Zoom into a key area (from a sharpening perspective) of the photo. Depending on the photo, the zoom ratio could be as much as 200% - 300%. The goal is to see clearly the edges of the objects and those transition areas that define the edges.
  5. Move the slider to the left. Note that the image gets a tiny bit softer as does any halo that might still be there. Then move the slider to the right, note that sharpness goes up and the halo gets a bit more defined.



If you are happy with the level of sharpness and the halo generated by just using Radius and amount, there is no need to use the “Detail” Slider. Just leave it at the default setting of “50” for ACDSee Pro 7 (other software may use a different value scale, but you get the idea, I hope.)

Also, remember that the amount of change this control can make varies with the level of overall sharpening defined by the combination of the Radius control and the Amount control. This control is highly dependent on the other sharpening controls.

It is also good to remember that like the “Radius” control, the edges this control “sees” aren’t always the edges you think of as important. This control affects the whole of the photo including noise and texture, what I call the “logical” edges, and not those edges a reasonable person might see as important, those I call the “rational” edges.

Threshold Control

Threshold controls the level of difference in pixel brightness within an object’s edge must be before sharpening can occur.

So, sharpening can occur only if two adjacent (or physically close) pixels are different enough to overcome the threshold level you set. The higher values tend to sharpen strongly delineated edges and tend to ignore background noise. Lower values tend to sharpen both the edges of objects and the logical edges in their interior. As a result, at lower levels, noise also tends to get sharpened. I think the Threshold control could be reasonably described as a very mild Masking control.

ACDSee recommends that you set the threshold high enough to enhance the edges while minimizing the background noise. My experience indicates this is essentially correct. I think one gets better and more distinctive control over edge sharpening with the Masking control, however. But this tool is quite effective in adding just a mild boost to sharpness without excessively affecting noise.

The further to the LEFT the control slider resides, the more change that moving the Amount control to the RIGHT will display in terms of sharpness though at the cost of increased noise.

This control isn’t really designed, however, to register large changes in sharpening. It seems its real function is to help you find a balance between noise and sharpness without excessive softening. If I need more edge sharpening, I use the Masking control.

How to get comfortable with this control:

  1. Select a photo with faces, leaves (grass or tree leaves are good), and possibly some big text such as signs.
  2. Set your Radius and amount according to taste.
  3. “Zero Out” the Threshold slider. In ACDSee Pro 7, this will be at level “0”.
  4. Zoom into a key area (from a sharpening perspective) of the photo. Depending on the photo, the zoom ratio could be as much as 200% - 300%. The goal is to see clearly the edges of the objects and those transition areas that define the edges.
  5. Move the slider gradually to the right, note that edge sharpness goes up very slightly and a very slight “creaminess” starts to appear in the interior of the objects.



Suggested Base Level Sharpening Workflow

  • Set your base level exposure, white balance, and color controls. Don’t concern yourself with cropping, or black and white conversion if that is your goal. At this point we are interested in developing a good, well exposed and color corrected photo with which to work.
  • Decide if you are going to use the Develop tab or the Edit tab in ACDSee Pro 7. If you don’t know, or don’t have a strong reason to do otherwise, I recommend that you use the Develop tab for this step.
  • Decide if the photo requires a fine detail strategy or a coarse detail strategy. In my experience, a coarse detail strategy is relatively rare.
  • Set your Radius control. If you feel the need to go higher than, say, 4 on the radius scale, know that you are starting to pursue a medium coarse sharpening strategy and you might find detail in grass and leaves or hair to be less than you might want. I would suggest a “2” as a starting point for Radius.
  • Set the Amount control according to taste.
  • Set the Detail control. Remember, this sort of fine tunes the combination of Radius and Amount. If you already like the sharpness neighborhood that Radius and Amount put you in, you don’t need to use this control. But it’s there if you need it.
  • Set the Threshold to whatever standard you are comfortable with. I use an “8” in ACDSee as a default, and if it seems inadequate, I adjust to taste.
  • Now examine your photo. Is it sharp enough overall? Remember, this is for the overall sharpness, ignore those areas that need specific sharpness changes if you suspect getting them “right” will ruin the overall sharpness of the photo. Remember that you can always address those specific areas in your Detailed sharpening step.
  • Ask yourself, “Will adjusting one of the above mentioned controls make things better, or, are you reasonably certain that they are set properly?” If you are reasonably certain that the prior controls are reasonably well set, then you might want to move on to the Masking control or you may decide to fix the issues you see in the Detailed sharpening phase.
  • After that, we are free to address other issues such as additional noise control, B&W conversion, special effects, etc.



There you have it. This is pretty much how I sharpen my photos. I’m pretty happy with the sharpening I now get from my images and I am now going back and redoing a large number of “old” photos that I no longer consider sharp enough.

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Aperture, Speed & Sensitivity (Part 2)

2013-04-10 17:20:00 GMT

By ACDSee Guest Blogger & Professional Photographer Alexandra Pottier

After aperture, one of the three facts that make a good exposition in a picture is the shutter speed.

It is the time while the sensor is exposed to the light while the curtain is open. If we think of it as a window, it is the time while the window is open.

Usually, we express the shutter’s speed in seconds or fractions of a second.

A long exposure time, 1 sec for instance, exposes the sensor for a longer period of time. That is useful when there isn’t much light in the scene.

On the contrary, a short exposure time, 1/1000 sec, exposes the sensor very shortly to the light when there is a lot of it.

image

Usual shutter speeds are : 1/2000, 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, ¼, ½, 1 second, up to 30 seconds. Then you have the Bulb mode, where you can decide for yourself the length of the time of aperture.

As you can see the numbers are equally proportional. When you double the exposure time (from 1/250 to 1/125 ) you let twice as much light in.

Of course the speed has consequences on the final result of the picture. The use of a fast shutter speed (1/1000s sec) will freeze the action even if the subject is moving.

image

The use of a slow speed (1 sec) will show an amount of panning.

image

The shutter speed must be chosen according to four criteria which are :

The effect you want for your picture. Frozen action or fuzzy yarn.
The movement’s speed. The photographer’s stability is important, below 1/60s, it is better to use a tripod, because the human, even very still, suffers from micro-movements, and the result is a fuzzy picture.
The subject’s speed. The more the subject is moving, the more fuzz there will be. And vice versa.
The focal length. It is common to say that it is better to use a focal length ratio 1/focal length. For example, if you are using a 200mm lens, it is better not to go under 1/200 sec.

If you want to keep the same exposition while changing the shutter speed, you’ll have to change the aperture increasely.

To change the shutter speed, there are two options : use the manual mode or the S mode. This way, you get to choose the speed you want for your camera.
To practice, you can start with the focal length rule (1/focal length) then you can try on different moving subjects, a walking person, a cyclist, a jogger, etc…

Have fun!

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Semi-Annual Sale!

2013-02-19 17:21:19 GMT



Save up to 65% with ACDSee’s Semi-Annual Sale!

For a limited time only you can receive one FREE year of 40GB of ACDSee Online storage with the purchase of ACDSee 15 or Pro 6.

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Using ACDSee Pro to Create an HDR Image with ONE Photo!

2013-02-18 17:25:00 GMT

By ACDSee Guest Blogger & Professional Photographer Serge Timacheff

High Dynamic Range (“HDR”) photos allow you to bring out the comprehensive tonal range in an image. This brings out detail, colors, textures, and tonal elements in photos, giving them an intense, colorful, almost surrealistic look-and-feel, often more like a painting than a photograph.

HDR Basics. Most HDR shots are created by taking a series of multiple photos of exactly the same image with the same aperture (f/stop) setting, varying the shutter speed from underexposed to overexposed, and then layering the images together in post-production. An HDR image might comprise anywhere from three to as many as nine or more photos.

HDR Truck 0-0


The accompanying photo of this colorful truck was taken in Northern California with 11 RAW photos, all at ISO 200, an aperture of f/7, and shutter speeds ranging from 1/80 to 1/8000 second (1/80, 1/125, 1/200, 1/320, 1/500, 1/800, 1/1250, 1/2000, 1/3200, 1/5000, 1/8000). While I shoot many photos hand-held (including this one), using a tripod can help make sure your photos are consistent (and so that slower shutter speeds aren’t blurry).



image


Following the shoot, I entered the 11 photos into Photomatix, an industry-standard HDR processing application. It provides multiple options for combining photos (including native RAW images) intelligently (it automatically aligns them, etc.) and then giving you multiple options for adjusting various versions of your image, from more natural to a wild and almost psychedelic look. From there, I save my “combined” HDR image and bring it into ACDSee pro for final editing. I often will use some adjustments to levels and colors, sharpen a little, and use the correction tool to tweak any minor glitches that the HDR process produced (sometimes, for example, it will create small aberrations in evenly toned areas, such as the sky, that need some touch-up).



HDR Truck FINAL


HDR from One Shot.One of the biggest problems with HDR shots is that they have to be made from multiple images with wide-ranging exposures. If you’re shooting moving images, like people, animals, cars, or even landscapes on a windy day, HDR images are difficult because it’s essentially impossible to shoot multiple shots of the same subject that are exactly the same.



Using ACDSee Pro and its editing and developing features, and specifically the “Exposure” tool, you can use one photo, and, one-by-one, change the exposure to be over- and under-exposed, and save each one as a separate photo. This is what I did with the photo of our Pembroke Welsh Corgi, Nicodemus, from a single photo I took of him on the beaches of Ocean Shores, Washington.



Nicodemus SOURCE


Using ACDSee Pro, and starting with a RAW file taken with my Canon EOS 1D-X, I first edited the “source” image so it was what I wanted (cropping, sharpening, level adjustment). I then saved that as a TIFF file to ensure I had the broadest-range of tonality (JPEG files are limited in tonal range, although you can save your final image in JPEG). From this source image, using the Exposure tool in ACDSee Pro, I saved eight different “exposures” that were evenly incremental in exposure adjustment: Using the slider, the exposures set to 25, 50, 75, and 100 percent up and down (exposure values, or eV, of +/- .75, 1.50, 2.25, and 3.00). I made no other adjustments, and each of these differently “exposed” images was saved as a separate TIFF file.



image


I then imported these nine TIFF files into Photomatix Pro (see www.HDRSoft.com for more). Photomatix automatically recognizes the incremental differences between the shots; if you have made a mistake and included a duplicate or your increments were uneven, it intelligently alerts you so you can fix or override it for processing.



The final result was this exaggerated and colorful image of Nicodemus, in his element at the beach. The colors and textures help bring-out his personality, and the artistic effect of HDR processing make the photo memorable and ready to be displayed, shared, or sold. They look especially good when printed onto canvas.



Nicodemus HDR FINAL


Try this yourself with a single photo—the nice thing is that if you ever had a photo you wished you could try experimenting with as an HDR but you only had one shot of it, now you can achieve simulate a wide tonal range using ACDSee’s robust ability to manipulate exposure. While you will always get the most optimal HDR results from taking actual different exposures and original images, when that’s not an option this can be a remarkably successful alternative.

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Think you're funny & witty? Lets see what you've got!

2013-02-13 19:45:00 GMT

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‘Like’ ACD Systems on Facebook and take part in our February Caption This! contest for your chance to win FREE ACDSee photo editing software.

Prizes will be awarded to the top 3 captions & include:

ACDSee 15 
ACDSee Pro 6
and
ACDSee Pro 2 (mac)

Make sure your caption is submitted by Sunday night (February 18th). Voting starts first thing Monday morning (February 19th) and closes Friday, February 22nd. You can vote once per day.

Winners will be announced Monday, February 25th.

View the photo and submit you entry here.

Good Luck!
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