![]() He is not aware that you are going to stitch to panorama - you want to preserve as much tonal range as possible and avoid tonal changes across the pano stitch. ![]() In other words, the forum member (Milt) wants to know why you need to stay in 32-bit after you do your merge to HDR. Once you have done the HDR processing, why do you think a 32-bit representation will be necessary/helpful? I saw your post on The Luminous LandscapeĪnd noticed that someone responded by asking you: Add to that the fact that, if you shot raw, you can convert all of your images in Photoshop using ACR and you start to realize why Photoshop is a pretty powerful tool. You can even tone the image from 32-bit to 16-bit and then do all of the final processing on the 16-bit image all without leaving Photoshop. That is, you may be able to use Photoshop for all of your workflow steps. If your panorama is not a full spherical pano, you may be able to take the resulting stacked HDR segments and Photomerge them in PS to your final 32-bit pano composite. Then you will stitch these 32-bit stacked segments into a single panoramic composite. This will produce a single 32-bit stacked image that will represent one segment of your panorama. Next, put each of these 32-bit images in successive layers in a single document - select all of the layers and use the Auto-Blend command in Stack mode. You will get a single 32-bit image for each focus position in the focus stack. I have not verified if this will work in 32-bit mode, so stand by, or try it yourself!īasically, take each Exposure Sequence and Merge to HDRPro - this will produce a single, 32-bit image. To stack, you use Auto-Blend Layers in Stack mode. I will try to generate an example today if I can get a spare moment. Photoshop will probably do it - although you will have fewer options to control the stacking. So:ġ) Merge each exposure set to HDR for each focus position Ģ) stack the HDR images into a single HDR image at that pano position ģ) stitch the HDR pano segments into a single HDR pano Ĥ) tonemap the final 32 bit pano into a LDR pano for final processing. The ideal situation would be to stay in 32bit land as long as possible. Otherwise, you may have to merge to HDR, tone map - making sure each HDR image set gets tonemapped identically - and then stack the LDR tonemapped images and then stitch those. If Helicon Focus permits you to store the masking for a stack as a template, so that each subsequent stack is stacked identically, this would alleviate the above potential problem.Ĭonversely, your stacking app has to support 32bit images if you want to merge to HDR and then stack the HDR images. If you have a motorized pano head, the pano head+promote will permit full automation of all three variables (pano+hdr+stack).Īs far as the merge workflow, I would think merging each exposure bracket to HDR first is better, because if your focus stack is different at each exposure (the stacking app cannot segment the underexposed or overexposed scene well) then when you HDR merge the stacked images, you could potentially get artifacts where the exposures differ due to the stacking errors. …iewarticle&kbarticleid=17īut watch the first one as well for the basics of focus stacking. The Promote Control does focus point control as well for select cameras - i.e., it can do the HDR and focus stack bracketing all in a single automated session. PSCS will do HDR merge and focus stacking (blending layers) although with less control than dedicated stacking apps. PhotoAcute will do HDR and focus stacking simultaneously.
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