Practical Artistry: Light & Exposure for Digital Photographers

164 Digital Darkroom

Multi-RAW Processing

Multi-RAW Processing

Multi-RAW processing means combining multiple ver-

sions with differing exposures and color values from

a single RAW original. Typically, these versions aren’t

“straight,” meaning they are applied using a blending

mode (see sidebar), and at some reduced percentage

of opacity.

If you’ve processed two exposures from the same origi-

n

al (let’s say one is much brighter than the other), you

can drag one of the images onto the other image in

Photoshop to create a single, two-layer image. If both

images are the same size, its easy to align the two layers

precisely. (The trick for precise alignment is to hold

down the Shift key when you drag one image on top

of the other.)

The requirement that the images be the same size for

precise alignment is a good reason to wait until you

are entirely through with combining RAW conversions

before you do any cropping of your photo.

Quite often, I’ll add a layer mask (see sidebar, page 163)

to one of these multi-RAW layers and plan to either

“paint in” specific areas, or to apply an overall gradient

to let the layer blend in smoothly.

With all of the layers converted from RAW in place,

my next step will be to proceed to enhancements in

Photoshop itself.

Blending Modes

Blending modes are used to describe how a layer mixes with the

layers beneath it (layers are described in the sidebar on page 162).

Besides the default blending mode (called normal blending mode),

I often use specialized blending modes when I multi-RAW process. I

also use these blending modes at later steps in Photoshop.

Here are some of the blending modes (besides normal) that I

frequently use:

Color: Color blending mode applies the color from the top layer,

using the luminosity (black and white values) from the layer

underneath. Color blending mode can often be used to selectively

enhance colors.

Luminosity: Luminosity blending mode uses the luminosity

information from the top layer and the color information from the

layer beneath.

Multiply: Multiply blending mode darkens the image overall, or

“burns” specific areas if applied selectively. In small doses, multiply

blend can be used to enhance colors.

Screen: Screen blending mode lightens the image overall, or

“dodges” specific areas if applied selectively.

Soft light: Soft light blending mode superimposes the pixels in

the top layer over those in the bottom layer, with a bias towards

lowering the effective contrast in the result.

165

Digital Darkroom

This photo showing Yosemite Falls and the Merced River in winter

went through many stages in the digital darkroom.

Top, page 164: I was intrigued by the RAW original as it appeared

on my computer monitor, but wanted to lighten it and add color

selectively.

Bottom, page 164: Following multi-RAW processing, the photo was

partway there.

Above: I used color, luminosity, and multiply blending modes

applied selectively to create the color impact I wanted (note

particularly the color on the cliff to the right of Yosemite Falls).

All: 18–70mm zoom lens at 18mm, 1/400 of a second at f/11 and ISO

200, hand-held.

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166 Digital Darkroom

At sunset, from the top of

Wildcat Peak, I watched the

clouds roll in through the

Golden Gate.

My original RAW capture

seemed awfully washed out

to me, but I wanted to see

how far I could go with it.

◀

To create this layer, I con-

verted a duplicate to LAB

color (see sidebar on page

169). Taking the luminance

channel (the L channel in LAB

color), I applied an inversion

(reversing the levels of blacks

and whites). I blended the

inversion on top of the origi-

nal using soft light blending

mode.

◀

In order to amplify the blue

in the image, still in LAB color,

I worked on the B (blue and

yellow) channel. To create

this layer, I blended the result

with amplified blue on top

of the original photo in color

blending mode.

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167

Digital Darkroom

Combining the layers I had created using blending modes and LAB

color created a painterly (and somewhat over-the-top) effect.

All: 70–200mm VR zoom lens at 130mm, 1/320 of a second at f/9 and

ISO 100, tripod mounted.

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