Archive for the ‘post-processing’ Tag

I Will Survive | A Grunge Collaboration   10 comments

There have been a few collaboration projects between photographers lately, usually revolving around HDR processing. I always find myself looking forward to the results, as they can serve to inform not only those readers who see the finals, but the contributors as well. Today, I think, we serve up another good example of this, along with a couple of surprises.

For those new to the idea: A few of us got together online and agreed to participate in the project. For each round, one person in the group provides a set of bracketed images, then each photographer applies their vision and processing skills to the set. The final image from each contributor, along with processing notes and other insights, are compiled and hosted on the blog site of whoever provided the set.

This week, it was my turn to provide the brackets for a project we call a “Grunge Collaboration.” Round 1 is here. Although the brackets can start with almost any character — a sunny landscape, even — in this collaboration we’re going for a gritty, grungy look in our results. Participants are James Brandon, Jerry Denham, Jim Denham, Jesse Pafundi, Chris Nitz, and myself, Rob Hanson. (But wait … that’s not all!)

This set of brackets came from my happenstance visit to Legend Hill Enterprises near Fredericksburg, Texas last April. Legend Hill is a buy-sell-trade business, according to signage on a large trailer near the road. Once you drive onto the property, you find yourself surrounded by literally hundreds of old, rusted pieces of farm equipment in various stages of decay, spread over many acres. After getting permission to shoot there, Susan trailed me in the truck while I stopped every few feet to click off more sets, acting like the proverbial kid in a candy store.

With a slight chin nod to Gloria Gaynor, I titled this set “I Will Survive.” It seemed fitting to me, as this formerly glorious beast was sitting amongst other pieces that had not been quite so lucky. It just needed a little quality love.

One note: When these projects first started, we posted the images without any narrative. Sometimes it’s good to let images stand on their own without commentary. It rather quickly becomes obvious that everyone approaches post-processing from a different perspective, and while that’s a beautiful thing, we’re left with only that one conclusion: Everyone has a different vision.

This week I’ve asked each contributor to share information about what they ‘see’ in the image, how it affected them, what they were thinking, and how that vision led to the choices they made in post-processing. It seems to me that we can all benefit by finding out more about this thought process as we consider each image, sort of like peeking into the mind of the photographer.

I hope this approach helps others, and if any readers have ideas on how this sort of project could be even more useful, please drop a comment and let us know. We’d love to hear your ideas. If you could ask a contributor any question, what would that question be?

We also have a special guest contributor joining us this week!  Read on to find out who jumped in, and to see his cut at the project. As he’s one of the true grunge meisters, I really admire his processing work and on a personal level I value his friendship, so I couldn’t resist asking him to join in this week’s fun. After all, he “just loves him some tractor.” I must’ve sensed that.  🙂

Here is the original 0EV bracket that we had to work with:

Original 0EV bracket for the I Will Survive grunge collaboration project

0EV bracket for "I Will Survive"

And here are the final images for this project…

From James Brandon:

James Brandon's version of "I Will Survive", part of the grunge collaboration project

James Brandon's version of "I Will Survive"

“Big thanks to Rob Hanson for a great set of brackets to work with for this week’s collaboration!

“In some of these HDR shots, I feel that you can get lost in the image when everything from foreground to background is in focus. Thatʼs fine in some cases, but in this image I wanted to get rid of any possible focus on the background (the trees, the other tractors, the junk, etc). I used textures, vignetting, and onOne FocalPoint to create some confusion around the corners of the images to draw the focus to the tractor.

“Sure, the tractor is the obvious subject here, but the subconscious can still be led astray. I also opted for a slightly cooled down white balance. The reason being that images like this donʼt exactly make me feel all warm and cozy :-). A junk yard with old tractors signifies the end of the road for these things, and I just didnʼt feel like a warm color balance and bright cloudy sky did that justice.”

From Jerry Denham:

Jerry Denham's version of "I Will Survive"

Jerry Denham's version of "I Will Survive"

“I was very intrigued by the brackets. I really liked the number of options that were available to concentrate on. I was originally focused on the two headlights but then I was very drawn to the scars and scrapes on the center of the tractor.  I tried to do what I could to try and make both areas stand out together, but wasn’t successful. Being a grunge collaboration, I concentrated on the scars and scrapes.  I really tried to bring out the red color of that portion of the tractor.  I used Picasa to do some soft focus enhancements to try and direct a little more attention to those scars and scrapes.  Had a great time with this.”

From Jim Denham:

Jim Denham's version of "I Will Survive"

Jim Denham's version of "I Will Survive

“Love tractors, and this one’s got some serious grit to it! I wanted to bring out the rusty color and texture, so I used two Topaz presets – Exposure Color Stretch and Clarify – selectively, along with a high pass sharpen. The surrounding setting was eating up the tractor, so applied a selective focus and reduced the saturation to make the tractor pop out at ya!”

From Rob Hanson:

Rob Hanson's version of "I Will Survive"

Rob Hanson's version of "I Will Survive"

“I took some liberties. 🙂

“First, I found that things just felt better if I flipped the image, and in my view it seemed to change the composition substantially. When I first worked with this new orientation, it seemed that the tractor was pulling a curved line of wreckage through the junkyard. Perhaps this has something to do with how westerners read from left to right, but I now see a clear vector starting from the willow tree, moving left along the line of junk, to the leftmost tractor grille, and then along through the subject, sort of like a rusty conga line. I don’t know, it just works for me, and whenever I flipped back to the original orientation that feeling was lost. With the discovery of that circular vector, and wanting to place this guy in his rightful place, I chose not to ‘hide’ the background junk, as it now seems an integral part of my theme.

“In keeping with the grunge motif, I wanted a decidedly post-apocalyptic feel without making the overall composition too dark. By creating a gloomy, atmospheric backdrop in the clouds and tree line I feel that the composition gained more depth, differentiating the lighter foreground from the dark background. Desaturating the image helped contribute to the gloaming. For the subject, I wanted to retain all of that rusty, gritty texture, and seeing a face in the trapezoidal front panel that reminded me of “The Scream” by Edvard Munch, I selected this area for a bit of extra treatment to call out that detail.

“This little guy has hope, thinking that he has prevailed over all the other poor, unfortunate wrecks. His proud stance; his vivid colors; his clear, baby blue eyes peering hopefully into the darkness all suggest that he’s a survivor of the junkyard apocalypse. Let’s not spoil his day by telling him it’s over.”

From Chris Nitz:

Chris Nitz's version of "I Will Survive"

Chris Nitz's version of "I Will Survive"

“I sat on these brackets for a few days before processing them. The tractor had my attention, but I had no idea what I wanted to do with it. It was rusty, broken down, and no longer working hard for the farmer who once owned it. This once vital piece of equipment now sits in a field left to rot.

“It did not hit me where I wanted to go with this image until I was merging the brackets into an HDR image. When I did this, there were several areas of detraction from the tractor. It was not until I moved this into a black and white photo that everything fell into place. At this point, the decay and rot called out to me. It screamed light leaks, noise, and textures. The black and white conversion help in drawing the eye back to the tractor. Everything else is there to help with the decrepit feeling.

Thanks to Rob for providing this fun set of brackets to play with.”

From Jesse Pafundi:

Jesse Padundi's version of "I Will Survive"

Jesse Padundi's version of "I Will Survive"

“When I see scenes like this, I usually look for something specific that really shows how time has taken it’s toll on the subject. In a case like this, overgrown grass taking its grip on the tractor is a tell tale sign how just how long it has been sitting here. I knew I wanted to maintain focus there.

“Now to the coolest part. I have a tendency to see inanimate objects as alive. My imagination tends to run wild from time to time, so I immediately noticed how this poor tractor seemed to be crying out for help. The lights as desperate eyes. The front opening as a gaping mouth pleading to be used. You see it now, don’t you? Yes, you do. Well, there’s my vision in a nutshell.”

From our Special Guest Contributor (Can you guess who?)

“Hey folks; Jacques “the Fotofreq” Gudé, here!  Oh, how I love me some Tractor!!  So, when Rob asked me If I’d be interested in being surprise guest processor on his awesome site, I jumped at the chance.  Thanks Rob!

“Once I had Rob’s brackets to work with, I knew I wanted to focus attention on the front end of the tractor, including the massive, cool engine.  So I post-processed and looked at my results; I was not happy!  But I sent it to Rob anyway, and asked for some critique.  Man, am I glad I did that, because I could see he was finding some of the same weaknesses in my work that I was.  Well, that just will not do!  After all, I’ve got a reputation, right?  So, back to the drawing board.

“THIS TIME, I decided I was going for the look you get when you lighting an object under a full moon.  I also wanted to give the shot a 3D look, which I did by dodging and burning depth into the various components of the tractor using my Wacom tablet.  The moral of the story is, if you don’t like your work when you’re done with it, it’s probably not up to par.  Thanks, Rob, for the honest and very helpful critique!”


Thanks, everyone, for a great collaboration project!

Please be sure to visit the web sites for each contributor. You’ll find some fabulous images and insights there on a regular basis. All links above open in a new browser tab or window, so have at it.


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32 Float™ from Unified Color – First Look   2 comments

Welcome yon HDR peeps!

I bring glad tidings of a new Photoshop® plug-in from Unified Color, the same folks who make HDR Expose. I don’t have any screen shots, yet, but having seen a demo of the new product last night, I can say that the interface looks very much like HDR Expose working within Photoshop, so I’d expect the learning curve to be quite minimal.

Up until now, editing images in 32-bit mode in Adobe® Photoshop® was extremely limited. Most of the adjustment features were grayed out and unavailable in 32-bit mode. There were a couple of gamma adjustments and filters available, but nothing terribly useful. For those of us who feel a need to retain all of the information in an HDR image for as long as possible, this was a problem. Or, just ‘life as-it-is” when working with Photoshop.

32 Float™ is the first fully featured 32-bit color editing plug-in for Adobe® Photoshop® based on Unified Color’s patented Be­yond RGB™ color space. Now, you can have full control over color adjustments, brightness, contrast, veiling glare and other functions while editing in full 32-bit mode, without having to sample your images down to 8- or 16-bits in order to work with filters and other functions. You can also work with 8- or 16-bit images as well with 32 Float™, so the functionality of the new product extends over a wide range.

You could, of course, use HDR Expose to accomplish these adjustments on a standalone basis, but having those capabilities integrated with Photoshop helps to streamline your HDR workflow.

32 Float will accept a variety of input file types, including but not limited to OpenEXR, Radiance, and BEF 32-bit HDR files. Alternatively, you can use Photoshop’s Merge to HDR function to create your 32-bit HDR file. From within Photoshop, you can pull down the filter menu to access 32 Float, where you’re brought into an interface that looks surprisingly similar to HDR Expose, with only a few minor variations. (The buttons have been regrouped, and a few others have been removed for the plug-in, as they weren’t necessary in this workflow.)

After making your adjustments in 32 Float, you apply the changes and those changes are saved as a new layer in Photoshop! (You can apply them to the base layer, but I wouldn’t recommend that.) From there, you are free to do any masking or other adjustments on that new layer.

But here’s the kicker: Suppose you have a scene with a really wide dynamic range, and you’d like to process segments of the image in different ways. After saving your first adjustments in a new Photoshop layer, you can go back to the Background (original) layer and invoke 32 Float again, making a different set of adjustments. Saving those adjustments as a new layer allows you to mask in or mask out sections of the image to draw out ALL of the information in the scene.

I think the possibilities are great for creative use of this plug-in. We certainly could have done the same thing with multiple BEF files from HDR Expose, but this new workflow makes it so much easier to work with layers in Photoshop.

When I get my hands on a copy of 32 Float, I’ll surely continue on with my notes.

32 Float is scheduled to be released this week, probably on August 26th or 27th. There will be limited-time introductory pricing on 32 Float, as well as bundle pricing if you’d like to get 32 Float along with HDR Expose.

For more information, please visit Unified Color‘s website. The Press Release under the Company section will tell you everything you might need to know.

Disclosure of Material Connection: Some of the links in the Discount section above are “affiliate links.” This means if you click on the link and purchase the item, I will receive an affiliate commission. Regardless, I only recommend products or services I use personally and believe will add value to my readers. I am disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”

Ruling the Roost – Photomatix Pro 4   2 comments

A peacock sits in an oak tree at the Joseph Jefferson mansion, New Iberia, Louisiana

I finally had a chance to open up the new Photomatix Pro 4 program, currently in public beta.  I had been looking forward to checking out some of the new features, particularly the anti-ghosting capabilities.

Some people have had mixed results with the anti-ghosting feature, but in the case of this bracket set it seemed to work very well.  I knew that the peacock had moved his head while I was shooting the bracket — which previously prevented me from bothering to process it — so I figured it would be a good test of the new Photomatix.

During processing, Photomatix Pro 4 allows you to draw a boundary around an area that is ghosted. From there, you can select Preview to see how Photomatix will handle the ghosting by pulling information from a single exposure.  If that doesn’t work out well, you have the choice of selecting another exposure, which I did in this case by choosing the -2EV frame.  Once this is done, you can proceed along in the usual fashion.

Just for grins, I ran the same bracket through the program without choosing the anti-ghosting features, which I assume is using much the same algorithm that Photomatix Pro 3 used.  The result of that pass was this:

While this was just my first pass with the program, things look pretty good.  There are other new features that I’ll talk about in future blog posts, so please do stay tuned.

Review: Printing on aluminum with SizzlPix!   3 comments

Smoke 'N Sunset - image of planes with smoke trails.

Recently, a client of mine expressed an interest in buying one of my images to help brighten up a dark area of a room. There was one image in particular that they were thinking of, but there were a few concerns: The cost of mounting, matting, framing, and glassing a large 36″ image; the weight of the final product; and the fact that matte prints can appear rather flat and dull, despite post-processing treatments to jazz them up. Most importantly, the client wanted the image to look like it did on their computer screen — backlit, bright, luminescent, etc. — which, as we know, is almost impossible with prints, although metallic paper adds some of that extra dimension.

While listening to a recent podcast from Derrick Story, I had heard about an outfit in California, called SizzlPix! Derrick invited the CEO of SizzlPix!, Don Sherman, in for an interview.  It sounded pretty good, so I checked them out further to see if their product could meet my client’s needs. Knowing that there are other sources for aluminum/metal prints, I contacted Don to see if he could explain how his product differed from other offerings, and if he could justify what seemed to me an uplift in base pricing over his competitors.

In a thorough and gracious email, Don sold me on the differences, not the least of which is the personal attention and hands-on care that each order receives.  As I went through the process with Don, I could see it was true.  Each order is carefully attended to, and they don’t start until all questions are answered.  One item that caught my attention is that SizzlPix! prefers high-quality input, so I was able to send them a flattened 16-bit TIF file in Adobe RGB colorspace instead of the typical JPG/sRGB upload. (I know, I know… JPGs usually look great even in larger sizes, but I wanted to retain as much pixel and color happiness as possible. Why short ourselves?) They also offer a 30-day ‘remake or refund’ guarantee, so how could I go wrong?

I sent up the TIF, had several pleasant email conversations with Don, and they had the product turned around in about two days.  UPS, of course, did their typically stellar job in elevating my heart rate when I saw what they can do to a box.  Good thing we didn’t mark it “Fragile”, or it would have gotten the ‘special treatment.’

All was well inside the box, as things were well packed.

I took out the final product and was very, very pleased with the result.  We got the standard mounting system.  The final product was light, well-reproduced, not cropped, and had all the brightness that my client could have wanted.  While metallic papers can add a lot of punch and brightness, especially to an HDR image, the effect tends to be localized to certain, lighter regions of the picture, and those regions can be garish in the wrong light.  On the SizzlPix! print, the entire image had a luminescent, almost 3-D quality to it.

I delivered the SizzlPix! print to my client yesterday, and they LOVED it.  It was exactly what they were looking for.  I got a second followup email from them this morning, reiterating how much they were pleased.

In the end, the most important things when dealing with clients are: Listening carefully to what they’re looking for and what problem they’re trying to solve; targeting an effective solution; providing attentive and superior service; and closing the deal with a satisfied customer.

In case you’re interested in seeing which image was ordered, you can open a new window to see Smoke ‘N Sunset in larger format on my Transportation galleries.


Disclaimer: I will never review or tout something that I haven’t used, or don’t firmly believe in as being helpful to the cause of delivering better photographs. As a result of this exchange with Don Sherman at SizzlPix!, we have arranged that I can offer a 10% discount on any SizzlPix! order. Please see my Discounts page on this blog (soon to be posted on my website, as well), or simply enter “RobHanson” in the comment area on the order form.

Warp This!   Leave a comment


I have seen the following technique from a couple of sources. The first was in one of Rick Sammon’s books, and then I saw it in a very recent blog. I was reminded to cover this technique with my own image as I uploaded it for printing on aluminum at SizzlPix! It’s a fun post-processing technique that you can try on some of your own images.  It won’t be a hit on every one of them, but when it does work, the results are pretty wild.

First, look for an image with a strong graphic element.  Flowers and trees tend to work very well, and if you can avoid a cluttered background, so much the better.

Here is my original image. Notice the strong graphic element of the trees, and a minimally disrupted background.

image of a sycamore tree on a bright blue day

On this image, after bringing it into Photoshop (CS4, in this case), I did a little modification by adding a NIK Color Efex Pro Polarization filter in order to even out the brilliant blue sky.  Then, using my LAHR/HALR sharpening technique, I brought things to the clarity that I wanted.

Make sure the image is flattened. Also ensure that it’s in 8-bit mode by using the Image -> Mode -> 8-bits/Channel command, as the upcoming Distort filter doesn’t work in 16-bit mode.

Go to Filter -> Distort -> Polar Coordinates.  In the preview window, select Polar To Rectangular and let it fly. Funky, eh? Maybe you’d like to stop there…

Go to Image -> Image Rotation -> Flip Canvas Vertical.  And then…

Go to Filter -> Distort -> Polar Coordinate, but select Rectangular to Polar.

For this image, the result is:

warped sycamore

Well, there was just a bit of extra work. The immediate output from the final Distort command yielded, in this case, a tan or buff background. Using a simple Paint Bucket tool set to a very low Tolerance of only a few pixels, I dumped black into the outer areas to really set off the contrast to the image.

I’ve printed this out large on metallic paper.  Killer!

This is one of those techniques that can really yield some interesting surprises.  Feel free to play around with various combinations and different images. Since there’s so little effort involved, you really can’t go wrong.

Have fun!


Dominance   Leave a comment

Image of old barn overgrown with weeds and vines, North Carolina


Click here for a larger version from my Landscape gallery. Opens in new window.

One of the best things about living in North Carolina is that you can drive down rural roads and pretty much guarantee that you’ll find interesting old barns, houses, or tractors to shoot.  When I once complained that this sort of agricultural scene seemed to be the only interesting stuff around here, a photographer friend told me, “Shoot what you have available and make the best of it.”  Wise words.

Sometimes in post-processing, you have to return to the basics.  Although I often (read: usually) process with HDR, it’s not always called for, requiring a fallback to another strategy. The fact that it’s time-tested is just a bonus.

In this situation, there are two elements that did not allow this image to be processed with the usual HDR programs.  First, the wind was blowing very hard, so any HDR program had a problem with ghosting on the foreground tree branches as well as on some of the background foliage. (I’ve heard that the next release of Photomatix Pro will address this.  Yay!)  Second, this was taken with a Nikkor 70-300mm lens, so the amount of fine detail (leaves, pine needles, grasses) caused a microcontrast nightmare due to compression of the scene.

This image started out with Adobe Camera Raw in order to make it look as good as possible going into Photoshop.  Once in Photoshop, I applied a basic curves adjustment layer and a few Hue/Saturation layers to tone down or bring up some color. Layering on two different textures in Multiply mode added an interesting element, particularly to the sky, but also brought a bit of sepia tone to the subject area. Finally, I used NIK Color Efex Pro to adjust color contrast, and to add a darken/lighten center adjustment, bringing the eye to the building.

I don’t think this could have been done better with HDR, but then again, it isn’t a very high-contrast scene.

Strong Morning Coffee   Leave a comment

Sunrise over Flagstaff Lake, Eustis, Maine

[A larger version of this image can be seen on my gallery at SmugMug,  here (Opens in a new tab/window)]

This image represents to me, 1) a continuation of a series of shots taken on one spectacularly cold Maine morning, and 2) a chance for further experimentation with blending output from two different HDR programs.

As for the first point, I had to drag myself out of a very warm, very comfortable, downy sleeping bag to shoot the sunrise.  Strong coffee is my friend.

To the second point…

This was taken from a set of three brackets (ISO 200, f/2.8, +/- 2 EV.)  I ran the set through Photomatix Pro 3 and created several different tonemap files.  One of the tonemaps was a Shadowmap for later use, one a Vivid (saturated) version and one a “nice” version (“nice” because I just thought it looked nice.) After producing those tonemaps, I also fed the brackets into HDR Expose, adjusting settings until it looked just right.

The output from HDR Expose was quite good on its own, but I thought it could use an extra touch, so I went to the Photomatix output to take a look. As it sometimes turns out, while the output from HDR Expose was solid, clear, and ‘true-to-life’, Photomatix output often has more punch and detail due to the available microcontrast settings.  There’s just something about the tonemapping process that jazzes up certain features.

Using the Shadowmapping technique, I layered the Shadowmap on the Vivid layer, toned down the saturation, and then blended it with the ‘nice’ tonemap. The result brought some subtle but necessary detail to the distant woods and some of the clouds.

When all of that looked good, I flattened the layers and copied the result on top of the HDR Expose version. Setting the opacity of the Shadowmap down to about 25-30% in Normal mode gave me a good result… other blending modes were too dark. The result was a highly realistic image — thanks to HDR Expose — with subtle but important details, color, and microcontrast from the Photomatix layer.

From there, the image took a trip into Topaz Adjust 4 for further punch-up. Using the NIK Color Efex Pro Darken/Lighten Center filter, I added a subtle dark vignette around the edges. Toward the end, I wasn’t delighted with the darkness of the distant shoreline, so I added an Exposure layer and masked it in to bring up the trees just a bit.

Surely, there are other ways to do this sort of processing, and some of them are bound to be easier paths to the same end. But each element seems to bring something to the final version, and playing around with different combinations can be both rewarding and frustrating.  Sometimes I do wonder if I should have just popped a single 0EV file into Topaz to see what would have happened.  Maybe tomorrow morning… over a cup of coffee.

Combining HDR Programs   1 comment

North Carolina Heating and Air Conditioning

“North Carolina Heating and Air Conditioning”

As I like to say: “The great part about not knowing all the rules is that it allows one to break them without compunction.”  Who’s to say that we can’t take the output from one HDR program and use it as input to another? Or, vice-versa? What happens if we combine this, with that? While sometimes the result looks like we’ve just combined matter with anti-matter, interesting surprises can result from such experimentation.

And, since we’re HDR photogs, don’t we inherently enjoy experimenting like the early alchemists?

I’ve been working quite a bit with Unified Color’s new HDR Expose program, and I’ve been using Photomatix Pro for quite a while now .  Each has its strengths, as we might expect, and I could pick over their respective weaknesses as well.  Rather than dwelling on what’s missing, I tried my best to use the strengths of each program in this image.  (Note: Discount codes for both programs are available from the Discounts menu above.)

When I ran the brackets through HDR Expose and applied edits there, the result was an ‘as-I-saw-it’ image with great shadow and highlight detail.  But, at the end of the process, it looked like an old building sitting in a field — which is exactly what it was.  While the result was an accurate representation, in this case it seemed to lack something artistic or interesting. There wasn’t enough there to really hold one’s attention.

Enter the stalwart Photomatix Pro 3(.2.9)  The output from that pass had elements that I loved about the building, but there was significant ghosting in the tree branches and the monochromatic sky had that dingy quality despite my having upped the micro-smoothing and highlights-smoothing substantially.  Those things could have been handled in Photoshop pretty easily by layering in a single RAW, but why not try something different?

Using standard Photoshop layering techniques, we’re able to quickly and easily combine the best elements of each program’s output. The shack was rendered by Photomatix Pro, while the remainder of the scene is from HDR Expose. Along the trees in certain spots, there is a mixture of the two, with HDR Expose handling most of the pixels.  Following up with some Curves adjustments and a little selective saturation boost in select spots, we have what I think is an interesting image: A funky old shack with some outrageous surface color — just as I had remembered it in the  harsh morning light (I drink strong coffee…) —  with sunlight pouring in through the roof.

It’s not a radical idea, of course, using various layers to achieve an effect.  I have some other experiments going on that I believe could be ever more interesting.

HDR Expose from Unified Color: A First Look   2 comments


Greetings —

This blog has recently been converted from another site.  The original HDR Expose blog entry has been made into a tutorial, but I didn’t want to break any links…

Please click here to see HDR Expose from Unified Color: A First Look

HDR Shadowmapping   6 comments


This blog has recently been converted from another site.  The original HDR Shadowmapping blog entry has been made into a tutorial, but I didn’t want to break any referring links by moving this post (again)…

Please click here to see the HDR Shadowmapping Tutorial



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