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HDR photography and images are very popular right now.  I, myself, have participated in a local exhibition featuring only HDR images.  The thing is, I do not care for 90% of HDR photography I see.  There is a large debate about processing HDR images to look more real or more hyper real.  I am not referencing that debate here.  For me, a simple reason why I do not find a vast majority of HDR images appealing is because they suffer from horrible shadow effects as demonstrated in the black clouds in the center image above.  As you can see with the single exposure photo, the sky looks good, but there is no detail inside the glass.  The 7-bracket HDR image reveals what is under the glass and adds better color, but at the expense of the clouds.  Therefore, the best final results come from blending the single exposure photo with the 7-bracket HDR image.

1. click on add layer mask (sorry, shows vector) 2. click on layer 1 3. paint with a black brushBlending two images together is not a difficult time consuming process using Photoshop.  The screenshots in this post are using CS5, but other versions should basically be the same.

First, open the single exposure photo and 7-bracket HDR image in Photoshop.  Drag the 7-bracket HDR image on top of the single exposure photo.  Once you do this you will only see the 7-bracket HDR image.  The single exposure photo is completely hidden underneath.  Our goal is to reveal only the parts of the single exposure photo we want, in this case, the clouds and sky.

After you have dragged the 7-bracket HDR image on top of the single exposure photo, follow the three steps highlighted in the screenshot above: 

1. Click on "Add layer mask"
2. Click on "Layer 1"
3. Select the Brush tool: soft brush setting, black, 60% opacity (or similar, just not 100%) 

Now using the Brush tool at the settings described above, slowly brush the areas you want to reveal.  The 7-bracket HDR image starts to disappear revealing the single exposure photo below.  In the above screenshot you can see that I already revealed the nice white clouds on the right side.  Here is an extra tip:  I also used the Brush tool on the concrete wall of the building that looked too black & dirty to reveal the cleaner wall from the single exposure photo.  If you make a mistake and reveal something you did not want to, set the Brush color to white and the top image will return.

Here again are the before and after results.  By using a layer mask you can create a dynamic hdr image and still maintain the clean look of clouds, walls, etc in the image.  This vector mask technique is great for other photography tricks too.  Want to change the background on a portrait?  You can do that following this same process! (see results here)

Try the vector mask process on some of your images and be sure to post links to the results in the comments below. 

Mt. Fuji above the clouds as seen from the summit of Yatsugatake - blue color is natural - 200mm focal lengthMy friend i-cjw is the premiere mountain summit photographer in Japan.  He has the photography skill to produce such images, but what makes his images all the better are how rare they are because few have his mountaineering skills to get to the mountain tops he does.  His most recent photo story (view here) made me miss being around mountains even more than I already had been.  In case you did not know it, Florida is basically a pancake.  So I had to dig into my archives to find my own mountain summit images of Mt. Fuji taken from the summit of Yatsugatake.  The above photograph shows Mt. Fuji peaking just above the clouds.  It was not visible again the rest of the time I was at the summit after I made this shot, so I am glad I took out my Nikon first and sandwich second!

Mt. Fuji photographed from the same Yatsugatake summit but at a 42mm focal lengthAs you can see, Mt. Fuji was actually quite a distance away.  The lead photograph is a good example of how a 200mm lens can actually be a very good lens for landscapes.

Japanese Alps from the summit of Yatsugatake JapanThese photographs have no editing done to them other than vignetting removal (due to the not so great 18-200mm lens I had at the time) and some cropping on the above image.  The blue tones are natural.  

It is an absolutely unique feeling to stand atop a mountain summit after spending the previous hours hiking up it.  When you finally return to the base and look back up at the summit, I always do not believe my legs had just carried me up to such a high place.  I have always enjoyed a view.

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Cessna taking off from Albert Whitted Airport St. Petersburg Florida - f/8 ISO 200 1/800th using shutter priorityEven though it is not entirely correct or perhaps in anyway connected, the inspiration for this post was, "One if by sea, two if by land."  The only real connection between all four of these photographs is that they were taken from The Pier while I was otherwise engaged teaching a DSLR photography lesson.  The photo of the Cessna plane above was taken with a student in practice for photographing eagles in Alaska.  Tracking a small moving object can be tricky and is definitely a skill that needs to be repeatedly practiced and refined.  This plane had just taken off from Albert Whitted Airport in downtown St. Petersburg.

Setting sail for Tampa Bay - f/7.1 ISO 200 1/800th using shutter priorityThis sailboat represents the whales the above student will photograph in Alaska.  It is kind of funny how The Pier with a little imagination can be a single practice point for photographing the wide ranging wildlife of Alaska!  For me, my goal with the sailboat shot was to get everything framed tightly and neatly regarding the boat's position in the frame, the location of the horizon and the predominantly cloud background.

Helicopter frozen in midair over Tampa Bay - f/4 ISO 200 1/4000th using aperture priorityA few months earlier, again with the same photo student, we were also on the roof of The Pier photographing anything that flew by.  What does it take to freeze a helicopter's blades in motion?  It would seem 1/4000th of a second does the job nicely.  Helicopters always make me think of Magnum P.I.  

Police ride jet skis in Florida - f/4 ISO 200 1/2500th using aperture priorityA few minutes later we were back to looking for waterborne subjects to photograph again and I saw for the first time a police jet ski!  Personally, I am against jet skis and other similar watercraft they just seem to be "too much."  They are incredibly noisy and it just seems so uncivilized for one person to be able to disrupt the Sea so much.  To me it just looks disrespectful.  

If not "one if by sea, two if by land" that what other connecting theme may you suggest for these four photos?  

Dramatic Sky over Tampa Bay - 5-bracket HDR f/8 ISO 200 tripod mounted with cable releaseI have been starting to miss mountains the past few weeks.  I watched every stage of the 2011 Tour de France as the riders first went over the Pyrenees and then the Alps.  The helicopter views of the French countryside were often as stunning as the cycling action.  With the option to make landscapes of mountains and architecture shots of old castles, I was thinking, "Florida really has nothing in comparison."

Well, Florida has almost nothing.  Here we do have near daily dramatic sunsets and stormy skies.  Each twilight brings a slightly different cloud pattern, sky color and reflection over Tampa Bay (if looking east from The Pier as in the above photo).

Still, once one lives around mountains, it is hard to forget them.  I imagine it is the same for living by the Sea.  Perhaps the combination of mountains and sea are why so many songs are written about California.  

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Click to view 6000px version -- 10-frame panorama of Tampa Bay with morning cloud coverLast year a friend requested some photographs of clouds.  I never felt I got the exact shot she imagined so in the back of my mind to this day resides that cloud photograph request.  Well this morning out to the east over Tampa Bay was a whole front of large puffy clouds.  I steadied myself on the upper railing on the roof of The Pier in downtown St. Petersburg and using the gridlines (I would never buy a DSLR that does not have this feature) in my Nikon D300 I lined by hand a 10-frame panorama.  Of course it would have been best to use a tripod, but I did not have one with me and since I could clearly see the horizon and thus line it up with the lower-third gridline in my viewfinder, I do not think I could have done much better.

I put the 10 photographs into a folder on my desktop, called up the automated PhotoMerge function in Photoshop CS5 and let the app and my Core i7 cpu do the rest.  Once stitched together I did a little further editing and then resized it to a more manageable version.  The original file is over 14,000 pixels wide!

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