Menu
HDR photography has become very popular over the last few years and I'll show you how to make an HDR photo in in this step by step tutorial. If you're not familiar with HDR, the acronym stands for High Dynamic Range and refers to producing photos with a wider range of lighting than a digital camera can currently capture in a single exposure. If you've ever taken a photo of people stood in front of a light sky, you'll probably have seen this effect with the people appearing to be well lit but the sky being near to a pure white. If the camera produced a photo with the sky appearing with its true color, you would see that the people in the foreground looked too dark. The idea behind HDR is to combine the two photos, or indeed many more photos, to create a new photo with both the people and the sky correctly exposed. To make an in GIMP, you need to download and install the Exposure Blend plugin produced originally by JD Smith and further updated by Alan Stewart.
This is quite a straightforward plugin to use and can produce a relatively good result, though it's not as rounded as a true HDR app. For example, you're limited to just three bracketed exposures, but this should be sufficient in most cases. In the next few steps, I'll run through how to install the Exposure Blend plugin, combine three different exposures of the same shot into one photo and then tweak the final photo to fine tune the result. In order to make an HDR photo in GIMP, you'll need to have three bracketed exposures of the same scene taken with your camera mounted on a tripod to ensure that they'll align perfectly. You can download a copy of the from the GIMP Plugin Registry. After downloading the plugin, you will need to place it in the Scripts folder of your GIMP installation. In my case, the path to this folder is C: Program Files GIMP-2.0 share gimp 2.0 scripts and you should find it to be something similar on your PC.
If GIMP is already running, you'll need to go to Filters Script-Fu Refresh Scripts before you can use the newly installed plugin, but if GIMP isn't running, the plugin will automatically install when it's started next. With the plugin installed, in the next step, I'll show you how to use it to create a blend of three exposures to make an HDR photo in GIMP. This step is to simply let the Exposure Blend plugin do its thing using the default settings.
Go to Filters Photography Exposure Blend and the Exposure Blend dialog will open. As we're going to use the plugin's default settings, you only need to select your three images using the correct select field.
You just need to click on the button beside the Normal Exposure label and then navigate to the and click open. You will then need to select the Short Exposure and Long Exposure images in the same way. Once the three images are selected, just click the OK button and the Exposure Blend plugin will do its thing.
Once the plugin has finished running, you'll be left with a GIMP document that consists of three layers, two with layer masks applied, that combine to produce a complete photo that covers a wide dynamic range. In HDR software, Tone Mapping would be applied to the image to strengthen the effect. That isn't an option here, but there are a couple of steps that we can take to improve the image. Often at this stage, the HDR photo can appear a little flat and lack in contrast. One way to counter this is to reduce the opacity of one or two of the upper layers in the Layers palette, to reduce the effect that they have on the combined image.
In the layers palette, you can click on a layer and then adjust the Opacity slider and see how this affects the overall image. I reduced both of the upper layers by 20%, more or less. The last step will increase contrast a little more. If we were working in, we could easily increase the contrast of the image using one of the several different types of adjustment layers. However, in GIMP we don't have the luxury of such adjustment layers. However, there's more than one way to skin a cat and this simple technique for enhancing shadows and highlights offers a degree of control using the layer opacity control that was applied in the previous step.
Go to Layer New Layer to add a new layer and then press the D key on your keyboard to set the default foreground and background colors of black and white. Now go to Edit Fill with FG Color and then, in the Layers palette, change the Mode of this new layer to Soft Light. You can see the Mode control marked in the accompanying image. Next, add another new layer, fill this with white by going to Edit Fill with BG Color and again change the Mode to Soft Light. You should now see how these two layers have considerably strengthened the contrast within the image. You can tweak this though by adjusting the opacity of the two layers if desired and you can even duplicate one or both of the layers if you want an even stronger effect. Now that you know how to create HDR photos in GIMP, I hope you'll share your results in the HDR Gallery.
'Make an HDR Photo in GIMP With the Exposure Blend Plugin.' ThoughtCo, Jul.
31, 2017, thoughtco.com/make-hdr-photo-exposure-blend-plugin-1701676. (2017, July 31). Make an HDR Photo in GIMP With the Exposure Blend Plugin. Retrieved from Pullen, Ian.
'Make an HDR Photo in GIMP With the Exposure Blend Plugin.' (accessed February 27, 2018).
Which mainly acts as an image manipulation and editing tool. It supports features like image conversion from one format to another, cropping, resizing, editing, free-form drawing and many other which make it one of the most important and prominent image editing kits after Adobe Photoshop.
Gimp Plugins Gimp plugins are available on the internet in abundance. A Gimp free download turns out most effective when is coupled with a collection of the best Gimp plugins. Ms money sunset home and business. Gimp Plugin Registry is arguably the best source from where you can download the most best-suited Gimp plugins for your purpose. It’s almost regularly updated with new plugins featuring new advancements. Gimp Plugins Pack is a complete package that when installed, provides you with an integrated collection of plugins giving access to all the popular plugins till date without downloading them individually.
You can also write your Gimp scripts to customize the available plugins even more. And here comes the list of the top-notch ones How to install Gimp Plugins It strikes a chord between the file size and image quality very effectively.
Helps in changing compression ratio, number of colors, image dimension and looks after the file size reduction as well. It is designed for Gimp version 2.0 or later ones. It lets you open and store images in DirectDraw Surface (DDS) format. Gimp DDS plugin for x64 is also available. It incorporates a lot of scripts implementing several layer effects like Outer Glow, Drop Shadow, Satin, Stroke, Inner Shadow, Gradient Overlay etc. Some effects can be applied to a separate layer with curves and noise. Along with other Gimp plugin packs, Gimp extensions jpg pack for Windows is an installer which encapsulates many extensions for Gimp offering a plethora of Plug-ins, Brushes, Scripts etc. Before you. This plugin can offer a preview image for each filter available, does support multi-layered inputs and outputs, allows users to add custom filters and helps to develop animations using static images. It is a suite of ten plugins among which Heal Selection is the most popular.
A Gimp resynthesizer download benefits you in many ways. Resynthesizer Gimp for Mac is also very popular solely for its feature list. This plugin makes adding arrows in Gimp seamless. High dynamic range rendering helps to save the details from the hands of contrasting ratios. This plugin helps to make your shabby image look immensely realistic through a little bit of faking; thus is the name. “How to make a contact sheet in gimp” is well-answered with this plugin. It helps photographers use index prints and contact sheets more effectively to decide which images are to be enlarged. It helps in converting normal images to RGB color maps to enhance per-pixel lighting. But the main aim of this plugin is to seamlessly clone NVIDIA’s Photoshop plugin in addition to other features. Gimp sketch effect plugin is widely used to emulate an image to give it a sketch-like finish very easily. You can control the blur factor too, to tune the outcome as per your requirements. Gimp export layers plugin turns out very helpful to export gimp layers separately as individual images and to make them available in almost all the formats that are supported by Gimp. This plugin empowers exposure fusion in Gimp helping to blend all the three bracketed exposures along with the other useful features like trimming, contrasting and saving of these custom images.
Contrast Blending with the Gimp + + = exposure-blend: A GIMP plug-in for contrast blending 3 bracketed images. Download:. with thanks to Alan Stewart. The Problem Many typical photographic scenes contain far more than modern digital cameras can record in a single exposure. Digital cameras are actually slightly worse in this respect than film cameras, since they are very unforgiving to the slightest over-exposure.
Bracketing Techniques To help overcome this limitation, you can bracket the shot using multiple exposures. Many digital cameras offer bracketing modes, in which (typically) 3 exposures can be taken in succession varying only the exposure, in fixed stop increments (e.g. See examples below. A variety of tools and techniques for using a set of such exposures from a single scene to recover higher dynamic range has appeared in recent years, ranging from simple and cheap, to expensive and time-consuming (see the for more). Images can be merged to recover with high precision the true luminance in the scene (a techniques called - HDR imaging). However, such HDR images must then be compressed down again to the limited dynamic range available in print and display devices (1000:1 or less). A simpler method is available in contrast blending in which image data from multiple exposures are linearly combined to recover shadows and highlights.
Popular methods for contrast blending include manually (see ), using special Photoshop actions, or using the program. I wanted an easy to use but flexible tool which works with the, a free and powerful image manipulation program - hence exposure-blend. A powerful method for blending three bracketed exposures using contrast blending and the Gimp is given. Exposure-blend is a Gimp script-fu plug-in which expands this technique, automates many parts of it, and provides several additional useful features. Exposure-blend is similar in spirit (though different in technique) to Erik Krause's Contrast Blending. See also for the GIMP. Another more recent and very powerful automatic exposure blending free software tool is, from the maker of enblend.
Background Contrast blending is the simple linear combination of 2 or more images taken with differing exposure, with linear weighting coefficients which vary across the scene. In dark parts of the scene, the over-exposed image should receive the most weight, whereas in bright parts of the scene, the under-exposed image should.
You can manually set the weighting by hand (often easy enough, e.g. For an interior with a single window), but here this is implemented by using layer masks - grayscale images which set the opacity of each pixel in a given layer - drawn the from the image data themselves. By layering the three exposures with appropriate layer masks, we can obtain essentially any combination of weights in different parts of the image. By default, exposure-blend orders the exposures as bright, dark, normal, and uses a grayscale copy of the dark image itself as the mask for the underexposed imaged, and an inverted copy of the bright image as its own mask.
A given pixel value in the resulting stack is dictated by the opacity of each layer, from top to bottom. If, for a given pixel the top layer 'uses up' 50% of the opacity, and next layer uses 40%, only 10% remains for the bottom layer; the final image will then consist of 50% top (bright) + 40% middle (dark) + 10% bottom (normal). The trick is setting up these opacity values in a useful way.
Using the dark image as its own mask gives it very little weight where the scene is dark, and more weight where the scene is brightest. Conversely, giving the bright layer its inverse as a mask gives it the most weight where the scene is darkest.
Everything which is not covered by one of these two is 'caught' by the normally exposed image in the bottom layer. The key point to remember is the brighter the mask value, the larger the weight given to the image in that layer. The ordering of the image layers also has some impact on the result, since if the top layer requests 70% of the weight, and the 2nd layer requests 50%, it is limited to 30% opacity.
Switch the order of the two layers, and each would recieve 50%. For typical scenes this is not a big effect, but you can experiment to see which ordering gives better results.
The mask images are smoothed to prevent sharp transitions between pixels from one image to those of another, and to avoid aliasing if the image alignment isn't perfect. The larger the smooth radius, the less likely are such abrupt transition edges, but the more likely are 'halos' and a general washed out appearance.
Smoothing with 'edge-protection' is also available. Other options are of course possible (e.g. Using the normal image as the dark's mask, etc.), and editing the masks directly gives you very powerful control over the relative weighting of dark, bright, and normal exposures in different parts of the image.
Features exposure-blend makes quick work of blending 3 bracketed exposures into a detailed, realistic, extended contrast image. It has many features to save you the drudgery of assembling contrast blended stacks yourself:. Set masks from among any of the three images (normal, dark, bright). Several smoothing options, including edge protection for halo suppression. Stores smoothed versions of all masks used for quick automatic recovery, so you can feel free to experiment with different versions, quickly switching among the mask source and smoothing choices. These are saved along with the file, so you can pick up where you left off. Optionally pre-trim the masks' histograms to deliver good contrast.
Differencing alignment mode to enable easy manual alignment of the images. This also moves all the associated cached mask to keep things in sync. Trim the image to the area of overlap of all three layers. Save custom edited image masks for later recovery. Compared to an automated contrast blending tool like PhotoMatix, exposure-blend has the following advantages:.
Similar 'mostly-automatic' mode produces reasonable results (see example below). Infinitely tweakable final image, with good real-time feedback. Easily change the blend weights in certain regions of the image by directly editing the masks.
Unlike PhotoMatix, the differencing image alignment mode is not automatic, but is very quick, and gives good feedback on the quality of alignment (e.g. Residual rotations, etc.). Shooting exposure-blend works on 3 images at a time, one normally exposed (normal), one under-exposed (dark), and one over-exposed (bright). Locate and read up on your camera's bracketing options. Three shots stepped by 2EV works very well in many situations (and is often the maximum range). This corresponds to a factor of 16 in exposure time between the shortest and longest exposure.
Use a tripod to ensure very little movement occurs between shots (you can align images which were nudged slightly using the tool). Use a cable release or remote control if possible to avoid disturbing the camera. Ideally, make sure the bracketing only adjusts exposure time and not aperture, so depth of focus will be similar (less critical for distant landscape shots). Installation First install, at least version 2.2. After running it once, download and add the script file to the directory /.gimp-2.6/scripts (or the corresponding version number; users of a Gimp package on OSX may need to install in Library/Application Support/Gimp/scripts/). Restart the GIMP, and you should find Filter-Exposure Blend, with several tasks beneath.
For earlier versions of Gimp, some items may appear as Xtns-Script Fu in the toolbox menu. Main Dialog The main dialog for building a blended exposure is available from: Filter-Exposure Blend-Blend. (earlier versions versions Filters-Photo-Exposure Blend.
Or Xtns-Script Fu-Photo). Loading images You'll be presented with an initial dialog as at right. Click in turn on the three image file buttons to set the appropriate normal, dark, and bright image.
Note that the file dialog reverts to the same directory each time, so it's useful to 'Add' the directory holding your images to the favorites at left to quickly navigate there. Options The initial options are: Normal Exposure: The normally exposed images (often the first or last in the series). Short Exposure (Dark): The under-exposed, dark image. Long Exposure (Bright): The over-exposed, bright image.
Blend Mask Blur Radius: The radius in pixels of the gaussian blur to apply to the layer masks. Blur Type/Edge Protection Whether to use normal Gaussian, or 'selective' Gaussian blurring (which protects edges from being smoothed smoothed), and the level of edge protection desired. Dark Mask Grayscale: Which image to use as the layer mask for the dark image.
Bright Mask Grayscale: Which image to use the inverse of as the layer mask for the bright image. Dark Takes Precedence: Put the dark layer on top (can be done by hand trivially). Auto-Trim Mask Histograms Trim the black and white levels of the mask histograms so they occupy the full range of values 0-255, with some trimming of the ends of the histogram. Same as clicking 'Auto' in the Levels tool for both masks. Scale Largest Image Dimension to: Scale down images to be no larger than the given dimension.
![]()
Can be useful for working on color and mask choices interactively before running through the full resolution image. Image Tools The full set of exposure blend tools installed in Filter-Exposure Blend in the menu bar of image windows allow you to align the images, quickly switching among various mask sources and blend radii to compare results. They are: Masks Apply First Visible Channel as Layer Mask Copy the contents of the first visible channel to the the current layer's mask. Save Layer's Mask as Channel Save the current layer's mask as a channel for future reference. Align Exposures Bright Align the bright exposure, by disabling its masks, and viewing it against the normal exposure in difference mode. Move-link all associated saved masks. Dark Align the dark exposure, by disabling its masks, and viewing it against the normal exposure in difference mode.
Move-link all associated saved masks. Off Turn off exposure alignment mode, restoring layer visibility, masks, and unlinking the moves. Trim Image to Overlap Area Trim all images to areas of mutual overlap (after alignment). The trim will be reported in the status bar. Main interface to blend (see above).
Reset Blend Details. Set new blend mask options (source, blend radius, edge protection, histogram trimming), similar to the main dialog. This is useful for generating new blurred masks to try, and for quickly switching among the saved masks. The additional option not found in the main dialog is 'Regenerate Masks'.
This causes any saved mask (for a given source image and blend radius) to be re-built, instead of recovered from the cache, as they normally would be. Reuse of cached masks is reported. Example Three images taken by bracketing with a Nikon D50 at -2EV, 0EV, and 2EV are shown below. Dark, -2EV Normal, 0EV Bright, +2EV After loading these, and accepting the default settings, the images are read in, and masks created and smoothed.
The layer dialog (Control-L) then shows the three layers, two with masks, at right. Notice how the normally exposed image is the lowest layer, with dark and bright images above it. For large images, it can be very useful to start by working on smaller copies (e.g. Enter 1024 for Scale Largest Image Dimension to in the main dialog). Experiment with the masks, and then when you are happy, repeat the steps on the full sized versions.
Remember that a given blur radius has a larger effect on small images (since a pixel in scaled down images covers a larger portion of the image). Aligning Images exposure-blend facilitates aligning the bright and dark images to the normally exposed image, which serves as the reference. Even if you think your images are aligned, this method can be used to check the alignment. Choose Exposure Blend-Align Exposures- Bright, to align the bright image to the reference. In the image hit m to select the move tool. Double-click on the tool in the palette, and set it up to Move the current layer, to ensure you move the bright layer, not the normal layer beneath.
Zoom in to 100% (hit 1). Click and drag the image into place, or use the arrow keys to move 1 pixel at a time (very useful for nudging it into alignment).
During alignment, the image will look as at right. Note that since the exposures are different, in general the alignment difference images will not be black, but will look like a strangely colored version of the image itself. Properly aligned images will have no sharp contrasts (black to white) at edges, but appear flat and dull.
Gimp Exposure Blend Plugin
Use vertical and horizontal edges in the image to help guide you. Even 1 pixel offsets will reveal strong contrast changes at sharp edges.
If the images were substantially rotated with respect to each other, you could gauge the rotation from the difference image and use the Gimp's rotate tool to attempt a better alignment, but it's better to shoot on a stable platform to begin with, so that alignment errors are at most a few 10's of pixels. With practice, aligning the images should take just a few seconds.
Note that you could setup the layers into the proper differencing mode for alignment yourself, but using the menu options ensures that any associated cached masks get moved as well. Repeat this with Exposure Blend-Align Exposures-Dark, and then use Exposure Blend-Align Exposures-Off to return to the normal mode. At this point, you can choose to Exposure Blend-Align Exposures-Trim Image to Overlap Area to trim the image to the region where all 3 layers overlap. This can be done at any point. Adjusting Masks With the default mask settings (once aligned) you get the blended image at right.
Often, the first pass, automatically-produced image looks somewhat flat and surreal. An easy solution is to select the bright layer in the layer mask, and turn down its opacity to 50% or lower, going as low as you can without losing useful detail in shadow regions, as seen in the layer dialog below: After adjusting the opacity of the bright layer, the image looks much less flat, but still has detail in the shadows, as seen in the second pass version at right. You can also experiment with the Auto-Trim Mask Histograms option, which typically brings out more of the dark image (since it was underexposed, it will often range over small values, like 0-100).
Another useful possibility is using the Normal image as the dark mask (which is similar to, but not identical to using the dark mask with trimmed histograms). Both of these methods give more weight to the dark image. Note that you can directly see the impact of a given layer on the final image by toggling the 'eye' in the layer dialog (Control-l pulls that up).
You can try changing the blend radius as well: large values will 'soften' edges, and smaller values increase the contrast. If you find objectionable halos around high contrast edges, try the 'edge protection' (see below). Note that as you create different masks with different parameters, they are stored for quick reuse as 'Channels', as seen below: Example: Advanced Techniques Several advanced techniques require greater familiarity with the Gimp, but can produce even better results, with far more flexibility. Fine-Tuning Masks In many cases, superior results can be obtained by editing the masks directly, in particular using value thresholds or other color adjustment tools. A few basic GIMP tricks beforehand: in the layers dialog, clicking on a layer will highlight it. Clicking on its mask image will surround it with a white border, which makes it current for editing operations.
Clicking the eyeball at left hides the layer, and shift-clicking shows only that layer. Alt- (or option-) clicking the mask toggles showing the actual mask image, and surrounds the mask icon in the layers dialog with a green border. To show the mask for a given layer, shift-click the eye icon to make it the only visible layer, then alt-click the mask. Control-clicking the mask icon disables it, surrounding it with a red border. A very useful technique which is often superior to simply adjusting the opacity of a mask is to select the mask for editing (by clicking on it in the layer dialog), then use Layer-Colors-Levels. To adjust the mask brightness directly, as shown at right.
Spyder4elite serial number. Often a dark image will not populate the full histogram, so slide the right triangle (the white point) down to meet the histogram, and the middle triangle (the gamma slider) down to emphasize the dark regions within the scene. Remember than making regions in a mask brighter assigns that image more weight in the final blend. Clicking on the Auto button is the same as using Auto-Trim Mask Histograms in the exposure-blend dialogs. Feel free to experiment. If you are ever unhappy with what you end up with, simply use Exposure Blend-Reset Blend Details.
To reset the masks from the stored cache. You can also use the 'dropper tools' in the levels dialog to set the white and black point. Toggle the Preview button to see the effect of your modifications. Experiment as well with using the normal or bright images as the dark mask, since these give it even more weight. A similar method could be used with the bright image. Select its mask, use Layer-Colors-Levels.
(tip: just click in the image if that was the last mode used), and slide the gamma slider to the right, down to 0.6 or so, as seen at left. This has the effect of smoothly darkening the entire bright mask (which is an inverse mask), which de-emphasizes mid-tones, leaving only the darkest parts of the scene affected by the over-exposed image. You can achieve even more control using the curves dialog ( Layer-Colors-Curves.), specifically adding weight to different brightness levels in the scene. Once you've adjusted the masks to your liking, you can flatten the image ( Image-Flatten Image), and then reduce the saturation somewhat ( Layer-Colors-Hue-Saturation.). This might result in the final version below.
Protect the Edges The default normal Gaussian smoothing which is used for the masks can allow the signature of, e.g., a bright window to 'leak out' to a slightly larger region, giving more weight to the underexposed image than is appropriate there, and leading to dark or bright halos which appear along any edge of high contrast. To help prevent these halos, you can use 'edge protection', by choosing low, medium, or high selective smoothing.
This is implemented with the 'Selective Gaussian' Gimp filter, and it leaves contrasty edges relatively intact in the mask. Selective smoothing is much slower than normal Gaussian smoothing, so you might check for objectionable halos before going that route.
It can also reduce contrast somewhat in areas with smoother gradations. Since exposure-blend caches any mask you build, you can quickly switch back and forth between normal and selectively smoothed masks to see which result is preferable. Tailoring Masks by Region Another possibility, once the masks are available, is to selectively increase or decrease the weight of a given exposure in certain parts of the image, by selecting difficult regions (e.g. Bright windows) and then using Levels, Curves, or direct painting to brighten or darken the mask in that region only. See for more on its many capable selection tool. The main thing to remember is to try not to introduce any sharp edges into the masks. When you make a selection, feather it using Select-Feather before tweaking its brightness.
Paint the mask using soft edged brushes or the airbrush, etc. For scenes with a few small, very bright regions, consider moving the dark layer to the top, and selectively raising the value of the layer mask there. Obviously, the sky is the limit with this technique. While experimenting, it might be useful to save your custom mask so you can compare it with others (see next section).
Saving Masks for Reuse, and restoring them As you work, you might like to save a custom edited mask for later reuse, perhaps to compare with another version. You can save any mask alongside the automatically produced default masks as a Channel (basically just a fancy selection, but for our purposes a convenient place to store grayscale images). This can be accomplished with the Exposure Blend-Masks menu. To save a given layer's mask as a channel, select the layer, and use Exposure Blend-Masks-Save Layer's Mask as Channel. The saved mask will show up first in the list of custom channels (with name based on the layer and beginning 'EB:').
Double click the name to change it. Give it a good name to remember it. Note that, unlike automatically generated cached masks, saved masks are not shifted along with their source image, so it is a good idea to finalize the alignment before saving any. To apply a saved mask from among the channels, make it the first (only) visible channel in the list (by clicking the eye icon at the left), switch to the Layers dialog, select the target layer, and choose Exposure Blend-Masks-Apply First Visible Channel as Layer Mask. The channel will be copied to the layer's mask, and its visibility will be turned off.
But with 1995's, began twisting their music into new shapes that were all but unrecognizable from the original source materials; one can find bits of rock and blues if they sift long enough through these shards of sound, but the final product is more of a descent into the maelstrom of lo-fi experimentalism. In hindsight, is the logical precursor to the music guitarist, drummer, and bassist would later make with (as well as the sort of soundscapes would construct as a producer), and there are some moments of freaked-out majesty to behold. Is a deliberately ramshackle set in which the guitars sound fractured and spare when they aren't roaring within an inch of their lives, the humming of the amps is transformed into an instrument, the keyboards buzz and squawk, primitive string charts rise and fall out of the mix, the rhythms manage to be lethargic and insistent at the same time, and the lyrics rarely make much literal sense but generate a palpable dread that suggests some glorious bum trip captured on tape. Red Red Meat.
More Examples exposure-blend has seen some use on Flickr. A few examples: And a. Last modified: Tue Jun 2 17:08:45 EDT 2009.
Hy oldnick, you have not one but 2 scripts folders in gimp (i too use win xp) BUT you have also, as all Win users a couple of dumb default that make the search of the right folder harder then the Search of The Holy Gral So if you follow me i will show first how to correct that nonsenses, then search folders and install script will become simple as should be ###################################################################################################### Login as admin Start/ Search. Open search for File. Previously hugin supported High Dynamic Range imaging solely by allowing stitching of HDR floating-point TIFF photos - These images themselves had to be created in another tool. Now, thanks to the internal photometric model, hugin can now create HDR output from normal exposure bracketed photos. The photos don't have to be perfectly-aligned, they don't even need to be nearly-aligned or have consistent exposure differences - The hugin optimiser will sort all this stuff out, and the stitcher will create OpenEXR or TIFF HDR output files for later tonemapping or use as lightprobes. The setting for HDR blending in Hugin are on the Exposure tab.
![]()
Thanks for the replies guys. You have overthought it!:) I already have all that stuff set up as you describe.I was just looking under the GIMP programme directory not in Docs and Settings! I can't find an scm file for Exposure Blend.
There is just a page full of script. Can I copt and paste into a text file, presumably with the extension scm? I am still interested in EB, because somebody wants to use it and I know more about HDR than they do. If I can look at both options I can explain why one or the other.
Thanks again for your help. I can't find an scm file for Exposure Blend. There is just a page full of script. Can I copt and paste into a text file, presumably with the extension scm?
Nick It is a scm file! Just look at the extension of the first link on the page you provided. Right click, save as into your script folder. That should do the trick. But I have to say that is a bit.unusual.99% of the time, when it says 'Download here' I click on the link and a download starts. I don;t get the source code. I already have all that stuff set up as you describe.I was just looking under the GIMP programme directory not in Docs and Settings!
Then you didn't look well.there is a gimp script folder also there:D:!: Look here C: Program Files GIMP-2.6 share gimp 2.0 scripts but that is filled with bundled scripts and everything there is deleted if upgrading gimp, while spaces in Docs and settings/.gimp are for user's chosen add on, and are preserved when updating:) OK. That's well hidden! BUT from what you say I should not use that anyway, because I will lose everything if I upgrade? EDIT: Which may well be why it's well-hidden.Nick.
Comments are closed.
|
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |