Eleven. Project: Oil Paint in Vegas
When working with HDR images, I often rid myself of any thought that the image needs to look a specific way. Shooting for this medium, I abandon any sense of “correctness” of what I am processing and largely rely on what “feels” right to do with the image. Shooting a commercial job, a wedding, a corporate client, I am thinking technical, correct, precise. In HDR, I see it as the equivalent of dumping a big bucket of crayons on a sheet of paper—I just want to explore and play.
The boundaries of play extend well past the tone mapping of the image and run into Photoshop. A couple of versions ago, Adobe introduced ...
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