# Blending-Merging Images for Correct Exposure in Photoshop CC



## Roger3006 (Jun 29, 2015)

Hello Everyone,  
Quite often, I shoot several images of a product with either different lighting angles or even different exposures. I open all the images as layers via Lightroom. I convert all but one to a mask and use the best of all for the effect I am trying to achieve. 

If Photoshop CC will do this automatically I can not figure out where it is hiding. 
Excuse the pun, but can anyone shed some light on this subject. 
Thanks and have a great week. 
Roger


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## sscarmack (Jun 29, 2015)

I'm assuming you know what HDR is?

I prefer to do everything manually, so I can get the exact look I'm after.


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## Roger3006 (Jun 29, 2015)

Somewhat familiar with HDR. Used it in Lightroom with marginal success. 

I photograph firearms. Deal with different reflective surfaces with every curve and angle you can imagine. I am always dealing with hotspots. I deal in older high grade firearms. I can't alter what is under the hotspot, ie clone stamp. 

I am getting good results doing it manually; however,  I am always looking for a faster method. 


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## jsecordphoto (Jun 29, 2015)

Look into using luminosity masks for blending, it'll make your life much easier.


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## Roger3006 (Jun 29, 2015)

Thank you all for you advice and consideration. Y'all are very much appreciated. 


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## Buckster (Jun 29, 2015)

You should take a really good look at this software:

HDR ReLight

Pop the video on that page full screen and watch it.  I think it can help you with your specific needs.


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## tirediron (Jun 29, 2015)

Why not simply light it so that you get the desired result in a single image?  Small objects light firearms are relatively easy to light in terms of the equipment requirements; 2-3 small monolights or speedlights, softobxes, diffusion fabric and white & black cards.  Once you get the basics down, it will save you an immense amount of time.  Buy the lighting bible.


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## Roger3006 (Jun 29, 2015)

The image below is an example of what I do.  I photograph a particular firearm and sell it.  I am not doing a conceptual shot for multiple copies of a homogenous product.  Time is a big factor.

Given more time, I could have made this image look much better than it does; however, there are about thirty more detailed images to go with it.


I am a believer in shooting it right and doing very little post processing; however, practicality must come into play or I would starve to death.


My studio is full of lighting equipment.


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## Roger3006 (Jun 29, 2015)

I can't afford to spend more than five minutes on a shot's  like the ones below.  They were easy.  The one above is not simple to light.


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## tirediron (Jun 29, 2015)

Okay.... I'm confused.  Time is a big factor, but you shoot 30+ images????     Those bottom two images are nicely done, but I don't see anything that represents more than ten minutes set-up and 5 minutes (at the most) in post processing.  Certainly I would think vastly less time than that required to merge & blend 30 files...


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## Roger3006 (Jun 29, 2015)

The bottom two were simple. The first one was not. Three places are going to want to wash out. The front of the forearm and the front and rear part of the pistol grip. It takes an complex lighting setup for the top image to get it right. 

The top image was composed of three images. First and what I will call the master was done with 2 soft boxes. Two and three were done one light at a time from opposite angles. 

If I am working on an inexpensive gun I don't worry to much about it and do the best I can. The shotgun shown I will call medium value, but easily considered a high grade, which will sell in the low twenties. There is not another shotgun exactly like this one. Wood will be different as will engraving. 

Thanks for your input. We will figure this out. 


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## tirediron (Jun 29, 2015)

Are you using a polarizer?


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## Roger3006 (Jun 29, 2015)

I do use a polarizer, almost always.  A polarizer takes care of most problems on wood; however, not much effect on metal.  The problem with hot spots is almost always on wood.  A polarizing screen also adds some contrast.

Older Smith & Wesson revolvers have a beautiful shinny deep blue finish.  It is hard to capture but a polarizer helps. Getting it right sells guns and does look good.

You are very limited on handgun ownership in Canada.  The US is buying more polymer handguns such as Glocks which are not pretty.  There is only so many ways to photograph something ugly and you always get ugly.  I like the old blue and wood; however, I broker what comes in the door.

A firearm is has black matte metal and a black matte polymer can be photographed as fast as you can re-position the gun and point the camera.  The correct angels add interest but they just are not pretty.  Is you can see, I am a little old fashion. 

I did not put my Hasselblad down until about four years ago when my custom processor died.  My F4's are also collecting dust.

Roger


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## Roger3006 (Jun 29, 2015)

Below are images of a S&W revolver that was done quickly.  When you learn exactly how to set up the shots it is easy.  I do admit there was some trial and error getting thing the way I wanted them to look.


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## tirediron (Jun 29, 2015)

How far from the weapon are you typically placing your lights?


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## Roger3006 (Jun 29, 2015)

Depends on the finish. I normally use 2 Medium soft boxes. The lights would be about 3 feet from each side of the shotgun at about a 15 degree angle. 

The first image of the revolver, the light was behind the camera about 3 feet. 

The second image was a 2 light setup. The light on the right was about 18 inches away at a 90 degree angle. The second light was placed four feet away pointing right down the barrel. I wanted to fill the shadows on the front of the cylinder and the front of the grip. 


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## tirediron (Jun 29, 2015)

Try pulling your lights in closer; say 50% closer, (and dropping the power accordingly) and consider double-diffusing them.  You might find things improve.


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## Roger3006 (Jun 29, 2015)

I have done that and often use a diffuser between the soft box and weapon; however, when you move in say 18 inches the mussel and rear of the stock will be overexposed and the center of the firearm will be underexposed. My rule of thumb is to keep my lights as close as possible keeping even exposure. 

I have even used large soft boxes, which fill my studio, achieving very little if any gain. 

I have 3 Speedotron 2400 w/s power packs normally using 2. Depending on the shot, I run them between 600 and 1200 watts. It is nice to be able to independently vary each light source without changing plugs. 

I use additional diffusers, reflectors, and many other homemade gadgets. 


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## Roger3006 (Jun 30, 2015)

You would be amazed with what you can do with AC filters of different colors and textures. 


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## tirediron (Jun 30, 2015)

Roger3006 said:


> I have done that and often use a diffuser between the soft box and weapon; however, when you move in say 18 inches the mussel and rear of the stock will be overexposed and the center of the firearm will be underexposed. My rule of thumb is to keep my lights as close as possible keeping even exposure.
> 
> I have even used large soft boxes, which fill my studio, achieving very little if any gain.
> 
> ...


 That sounds like an awful lot of light for a job like this to be honest.  I love my Speedotron gear, but it would NOT be my first choice for this sort work because of it's lack of fine control.  No problem for portraits in the studio where you can move a light this way or that by 6" to get that 1/3 stop control, but honestly for this sort of work, would be using either speedlights (my first choice), or  small <150w/s monolights with infinitely variable rheostats.  Elinchrom makes some really nice units. 

Having thought about this (because I really enjoy trying to figure out how I would light <whatever>), I think my first setup would be a home-made strip box about 8x60 with probably three lights to ensure even illumination and at least 2, and possibly 3 layers of diffusion.  I would mount this above the rifle, as close as possible, but not directly overhead, rather angled maybe 10-15 degrees off the vertical so that you get some wrap on the rest of the weapon (assuming a standard size rifle as the subject).  If there were especially reflective areas, then dark cards on the strip box would help.  I would then have a bounce card about the same dimensions as the face of the strip box on the work surface, in front of the weapon, and angled to bring some light (my initial thought is 1 - 1.5 stops below key) underneath the weapon.  If necessary, this could be filled by having a couple of speedlights behind the weapon firing toward the bounce card; again use light and dark cards to flag the light as appropriate for highlight control.  It might also be worth considering cross-polarization for this sort of work.

Understanding that it will take a day or so to get this worked out, I think that once you do, you will be able to produce finished images much more quickly than your current processing regime allows, and that all that will be required most cases are slight adjustments to angles and position of the light/dark cards as appropriate.


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## Roger3006 (Jun 30, 2015)

I have tried the method you mentioned before with a strip box but only one light. When I have time I will give it another shot. 

At ISO 100 I shoot around F8. I can crank things down and remain at that F stop when I remove the polarizer. I have given mono blocks a lot of thought. 

I will post an image ASAP of the problem I often encounter. It is not major but annoying. 

Thanks,

Roger


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