Photomatix HDR Tutorial

As an alternative the Photoshops HDR (High Dynamic Range) tool, there is also an HDR generation package called Photomatix. It performs in much the same way as Photoshop but is relatively inexpensive for students ($30) who does not necessarily want the expense of upgrading an old Photoshop version.

The process is very easy



Simply drag your selected bracketed shots from where ever they may be into Photomatix. I chose on this occasion to drag 6 CR2s from Lightroom  (-2, -1, 0, 0, +1, +2)

Confirm the HDR processing

Confirm the bracketed shots to be used or browse for alternatives

Photomatix will estimate the EV values of the shots chosen. Either confirm or adjust these numbers as required. This is important to allow the software to know what the originals were shots at/bracketed 

This next step allows Photomatix to correct the final or original images for things like noise, alignment ,and ghosting (moving artifacts in image such as clouds leaves) Be careful not to use all the options if you dont think they are required as using them will result in much higher processing times and ultimately wont give as good a result if the algorithm is looking for corrections that aren't required.

Then simply select pre-process 

If you have selected  "semi-manual" reduction of  Ghosting Artifacts the next dialogue box will appear allowing you to zoom in to the pre-processed imaged and manually treat these artfacts. If if looks okay simply select "OK"

The next step is to chose your HDR option. You can chose to just merge the files using exposure fusion option. This is a fairly quick but rough way of creating your HDR as it doenst allow for any fine tuning of the image.

The alternative is to select tone mapping that uses a tone mapping algorithm to blend the images. and present you with many slider to adjust and customise the final image. It comes with a selection of presets with thumbnails. Or as you beome more experienced and familar with the package, there are all the slider options that are best played with to discover their various effects. This is especially true with different original images used as the controls can have differing effects depending upon the original source image data.

After a few minutes (yes minutes) you will have the final product which you can then save as JPG, 8 Bit TIFF or 16 Bit TIFF files.

Test Revision 1/6/10

topics:

Power Packs..
Control of color temp (higher number is cooler temp)
color temp averages out to about 5500k
but what happens at lower output?
goes yellow as peak never achieves coolest color temp.
other way is to cut the the tail off off
best method is to combine both technique...reduce power output (reduces Temp) and cut the power off (increases temp)

T0.5
T0.1 more useful  covers the drop off more accurately

Scheimpflug

Tilting the rear standard (sensor) changes the shape of the image and also the focus
Tilting  the front (lens) affects the focus plane only
rise and fall/shift left and right
tilt left right/swing up down
limitations os tilt shift lens compared to large format camera?

Imaging

• Color management color spaces gamuts etc 
• printing tech ....soft proofing print heads ink types
• Relative and perceptual 
• Calibration devices and spectrophotometer
• Purpose of HDR

Studio

• power packs (handout)
• Medium format digital
• Macro ...geometry
•  m=I/o image size/object size
• less light is less depth of field
• 2 times the focal length gives a 1 :1 ratio
• 
  

Bellows extension

• Glass chrome shiny approaches
• Large format in studio color calibration (how to calibrate)
• copy work lighting..calibrating camera for color accuracy..if light changes little benefit..only in very controlled and consistent lighting light and photograph test target apply eye1 

Location

• White balance
• Convergence
• 
  

Monitor Calibration 3

On this occasion I created a profile for one of the monitors in the computer lab.
These are the screen shots from the exercise

Monitor Calibration 2

I had already created a profile for my Laptop but in my haste neglected to do the screen shots of the results. So I had to do it again
Upon completion for some reason the final interface did not give me the before and after views that were afforded when I calibrated the CIT's mac monitor the first time

This is the result however

Calibration equipment assignment

Table of Contents

1)Introduction

2)What's available summary

3)Specifications

4)Comparison

5)Conclusion

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1) Introduction

An essential part of any serious photographer's kit is the inclusion of a colour calibration device to enable an effective colour management system. There are many kits available ranging from $125 right up to over $6000. 

The two main types of technology used are that of a colorimeter and that of a Spectrophotometer. The latter being the superior system as it tests over a spectrum of colours rather than a selection of defined colours.

These kits can either simply profile just monitors, or can be an all in one and also calibrate and create profiles for printer/paper combinations. Some devices will also calibrate and profile projectors for colour correctness. 

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2) During my research for Hardware based calibration devices I found the following offerings

Huey 

ColorMunki 

EyeOne 

Spectrolino

Datacolour spyderTV  

Datacolor spyder 3 pro 

DataColor Spyder 3 express

Datacolour spyder 3 elite 

Datacolour spyder 3 print

Datacolour spyder 3 studio (elite and print)

Monaco Optix XR Pro 

Sony Artisan 

LaCie Blue-Eye 1.0.3 

ColorEyes Display 3.10 

EyeOne display 1 with Eye-One Match 3.2a 

EyeOne display 1 with Eizo ColourNavigator 2.0.5]

DataColor (nee ColourVision) spyder  

DataColor (nee ColourVision) spyder 

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3) These devices can be catagorised and further detailed by maker and specification summary as follows 

X_RITE HUEY

Huey $140

Measures ambient light

Measures primary colours and several shades of grey to generate the profile

Does not support multiple monitors

"Better than no calibration at all"

ColorMunki $700

Monitor, projector  and printer calibration

Spectrophotometer technology

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EYEONE

EyeOne display 2 with Eye-One Match 3.2a software $240

Colorimeter 

Prompt driven software

Measures many colours (more accurate)

Measures and REPORTS the temperature as well as brightness of the ambient light

Supports multiple monitors/workstations

Highest dark area sensitivity gives better control in shadow detail

Accuracy: +/- 0.004

Short term: < +/- 0.001

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High end

Spectrolino with ProfileMaker Pro 5.01 software $6000

Spectrophotometer 

Expensive "duh!!"

Heavy

Slow

"superb accuracy"

Bench mark for evaluating other calibration devices.

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DATACOLOR

Datacolour spyderTV 3.0 $145

suitable and designed only to calibrate Televisions

Datacolor spyder 3 pro $265

3 channel colorimeter

Intelligent ambient light test

7 detector colour engine

"largest sceen sample area" faster calibration

suction and counter weight

Re-cal super fast

SpyderProof functions

Multiple display with model presets

Cross platform MAC/PC

DataColor Spyder 3 express  $150/$125

Colorimeter

"professional grade results"

Software/ wizard

Before after viewing software

Datacolour spyder 3 elite $375

Front projector calibration

Same engine as "pro" but with more software features enabled/included on the CD

Datacolour spyder 3 print $875

Print only calibrator 

Datacolour spyder 3 studio (elite and print) $1049

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MISC OTHERS

Monaco Optix XR Pro (software is integrated) $350

Sony Artisan integrated puck with Sony CRS 1.2.5 software

LaCie Blue-Eye 1.0.3 with Eizo ColourNavigator 2.0.5 integrated software

ColorEyes Display 3.10 with Monaco XR/DTP-94 sensor $180 (software only)  $320 with sensor)

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SUPERSEDED 

EyeOne display 1 with Eye-One Match 3.2a software $240

EyeOne display 1 with Eizo ColourNavigator 2.0.5 integrated software

DataColor (nee ColourVision) spyder  plus OptiCal 3.7.8 $220

DataColor (nee ColourVision) spyder 2  plus Colorvision  spyder2 Pro software $175

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Testing of the various above calibrator/profiling options has been performed by many third parties, and results vary from monitor to monitor, obviously especially so when testing the monitor/setup specific devices such as the Sony Artisan and software, LaCie Blue-Eye and the ColorEyes Display 3.10  

Also performance differences get highlighted when examining black and white calibrations.

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4) Comparison

When comparing two of the options, as I dont do my own printing, I feel that a calibration tool that offers printer cailbration is redundant  and an unnecessary expense. So I decided on comparing two monitor-only calibrators of roughly the same price from different makers, based also on another assumption that a budget is set. The device needs to meet my current needs as well as slightly future proofed  by anticipating my future requirements. 

So for the sake of the assignment I chose two what appear to be closely competitive devices under my assumed budget of  $300. A case of comparing apples with apples.

Datacolor spyder 3 pro $265

3 channel colorimeter

Intelligent ambient light test

7 detector colour engine

"largest sceen sample area" ...faster calibration

suction and counter weight

Re-cal "super fast"

SpyderProof functions

Multiple display with model presets

Cross platform MAC/PC

EyeOne display 2 with Eye-One Match 3.2a software $240

Colorimeter 

Prompt driven software

Measures many colours (more accurate)

Measures and REPORTS the temperature as well as brightness of the ambient light

Supports multiple monitors/workstations

Highest dark area sensitivity gives better control in shadow detail

Accuracy: +/- 0.004

Short term: < +/- 0.001

From the information in the summaries in section 2 and from the charts provided above there seems to be little to substantially differentiate between these two devices owing more so to the lack of meaningful and COMPARABLE data/specs that are available. (notwithstanding accuracy and colour temp specs).

 I sourced one very comprehensive test that included both calibrator options (amongst others) and they were tested with a variety of monitors and for appraised subjectively against the Spectrolino Spectrophotometer used as a bench mark. Useful as it allows buying decisions to be based upon intended output propensity (eg B/W or colour...high key/low key)

Here is the complete test 

http://www.drycreekphoto.com/Learn/monitor_calibration_tools.htm

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5) Conclusion

As it can be seen and as drawn in their conclusion, in their opinion it is a close race however the Spyder performs overall just a little better on average than the Eye One. It is slow (despite marketing information that would have you believe otherwise) and it seems that it superiority in the shadow details does not carry over into the highlights. The Eye One on the other hand is quick, and it excels with Black and white renditions

Other (anecdotal) information gleened from a variety of web forums suggests a preference to the Eye One set up, with particular reference made to the  Spyders ultimately inadequate gamut coverage for wide gamut monitors. Again this information rebalances the debate.

For my money I would go for the Eye One. Reasons being we're largely talking about efficient COLOUR management systems, and to me that says more about the Hue and Saturation of a represented colour and timely calibration/profiling more than the lengthy obtaining the superb  shadow details calibration afforded by the Spyder. 

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References

http://www.imagescience.com.au/products/DataColor-Spyder3-Express.html

http://www.buymac.com.au

http://www.drycreekphoto.com/Learn/monitor_calibration.htm

http:www.khromagery.com.au

http://www.xritephoto.com/ph_product_overview.aspx?id=1115

http://spyder.datacolor.com/s3compare.php

http://www.digitaldingus.com/reviews/gretagmacbeth/eyeonedisplay2/eod2_specs.php

http://www.digitalcamerawarehouse.com.au/prod5298.htm

Calibration results

Here are the screen shots from a calibration performed on one of the CIT monitors using the EYE1 match 3 set up

The color temperature and Gamma are as per the target values but the luminance is about 3% off the target so quite acceptable as well.

Before example (calibration off)

After example (calibration on)

Overall I would say that the green tonings have been reduced slightly resulting in slightly better skin tones and stronger colours generally.

2/3/11 Tute-Stitching

Problems with stitching

Lens distortion
Misaligned images
Changing scene
Tonal variation
Need enough overlap 25% is suggested
Differences in exposure.... but can be compensated by the software
Parallax error..need to rotate the lens around the front nodal point of the lens..special tripod or (nodal bracket)..poor mans version is using a metz flash bracket ..in this config the camera needs to be in landscape mode

Tools:
PS
File-Automate-photomerge
PTGIU
Panorama tools

Exercise done in class

Lecture : 2/3/11 calibration devices-lightroom

The sensor in the calibration device can vary

1) colorimeter
measures 3 values RGB
reproduces what our eyes detect

Some spider devices can use more up to 7 sensors..more accurate information

subject to metamorism

2) spectro-photometre

measures light intensity  a whole lot of points along the spectrum red 700 ----> blue 400nm built up a complete curve

can counter the effects of metamorism
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x-right $300 to $6000

DPP review suggested as good research portal

ambient light check does not influence the calibration but advises as to the "quality" of the light

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Lightroom

Workflow tool
whole process from capture through to output


Cataloguing/database vs browser/file system
Metadata database with thumbnail-can organise and link files that are scattered all over your file system

Minor editing

Non destructive editing
Live rendering=RAW +metadata..image plus instructions

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Colour Management review -Monitor Calibration-Class 23/2

For the first part of the session we reviewed Colour management and, in groups, answered a series of Colour management questions.



For the afternoon practical/tute today we did the first of several monitor calibrations. and compared the before and after results.