| About the Author |
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| Thank You |
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| Preface - A Walk Before the Run: Basic Photography Tips |
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xvii | |
| Make Photographs |
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xviii | |
| Tell a Story |
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xix | |
| Consider the Background |
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xx | |
| The Name of the Game is to Fill the Frame |
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xxi | |
| Check Your Camera Settings |
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xxii | |
| Choose Your Lens Wisely |
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xxiii | |
| Interesting Subjects Make Interesting Photographs |
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xxiv | |
| See the Light |
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xxv | |
| Create a Sense of Depth |
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xxvi | |
| Move It |
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xxii | |
| Take a Walk |
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xxviii | |
| Compose Carefully |
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xxix | |
| Before HDR |
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xxx | |
| Extreme HDR |
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xxxii | |
| About this Book |
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1 | (1) |
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2 | (2) |
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4 | (2) |
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6 | (2) |
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About the Pictures in the Book |
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8 | (2) |
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10 | (2) |
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12 | (1) |
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13 | (3) |
| Introduction: Welcome to the Magical World of HDR Photography |
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14 | (2) |
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Bracketing is the Starting Point of HDR |
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16 | (1) |
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Creating an Effectiveand Impressive HDR Image |
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17 | (1) |
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18 | (1) |
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Try HDR Even You Don't Think You Need It |
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19 | (1) |
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20 | (1) |
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Highly Do-it-Yourself Rockin Images |
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21 | (1) |
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Pseudo HDR Images & HDR-like Images |
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22 | (1) |
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23 | (1) |
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24 | (1) |
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25 | (1) |
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Life After HDR in Photoshop |
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26 | (1) |
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To HDR or Not HDR... That is the Question |
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27 | (10) |
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No Substitute for Good Light |
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28 | (1) |
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RAW Files are Packed with Data |
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29 | (1) |
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30 | (1) |
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More Exposures Mean More Data |
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31 | (1) |
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32 | (1) |
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The Right Light for the Situation |
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33 | (1) |
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Strong Light Might Be the Right Light |
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34 | (1) |
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Soft Light is Sometimes Right, Too |
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35 | (1) |
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Always Be Prepared for HDR Photography |
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36 | (1) |
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37 | (26) |
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See the Light & Determine Bracketing |
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38 | (1) |
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Too Few and Too Many Shots |
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39 | (1) |
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40 | (1) |
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What Your Eyes See vs. What Your Camera Sees |
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41 | (1) |
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42 | (1) |
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Auto vs. Manual Bracketing |
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43 | (1) |
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Look for Highlights and Shadows |
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44 | (1) |
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Careful Bracketing Pays Off |
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45 | (1) |
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46 | (1) |
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47 | (1) |
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48 | (1) |
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Aperture Must Remain Constant |
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49 | (1) |
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Carefully Focus; Manually Focus |
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50 | (1) |
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51 | (1) |
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Check for Chromatic Aberrations |
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52 | (1) |
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Steady Your Camera and Try Not to Touch |
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53 | (1) |
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Hand-Held Images Can Work |
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54 | (1) |
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55 | (1) |
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56 | (1) |
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57 | (1) |
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HDR vs. RAW File Processing |
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58 | (2) |
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60 | (1) |
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HDR File Management Suggestion |
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61 | (1) |
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62 | (1) |
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Photomatix: The Most Popular HDR Program |
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63 | (12) |
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64 | (1) |
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Generate HDR: RAW vs. JPEG |
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65 | (1) |
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66 | (1) |
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Taking Control of Your Image |
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67 | (1) |
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Tone Compressor for Realistic Images |
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68 | (1) |
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Tone Compressor Adjustments |
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69 | (1) |
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Details Enhancer for Artistic Images |
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70 | (1) |
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Detail Enhancer Adjustments |
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71 | (1) |
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Watch the White Point and Light Mode/Smoothing |
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72 | (1) |
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73 | (1) |
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The Subject Often Dictates the Effect |
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74 | (1) |
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Single File Pseudo HDR Images with Photomatix |
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75 | (6) |
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Contrast is the Determining Factor |
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76 | (1) |
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77 | (1) |
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78 | (1) |
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79 | (1) |
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80 | (1) |
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Exposure Fusion with Photomatix |
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81 | (8) |
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Launching Exposure Fusion |
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82 | (1) |
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Adjusting Your Images: Highlights & Shadows Adjust |
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83 | (1) |
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Adjusting Your Image Part II |
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84 | (1) |
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Exposure Fusion with Help from Photoshop |
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85 | (1) |
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True HDR with Help from Photoshop |
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86 | (1) |
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Look Closely and Carefully |
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87 | (2) |
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89 | (14) |
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90 | (1) |
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91 | (1) |
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92 | (1) |
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93 | (1) |
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94 | (1) |
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With a Little Help from Photoshop |
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95 | (1) |
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The Beauty is in the Details |
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96 | (1) |
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97 | (1) |
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98 | (1) |
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99 | (1) |
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Apply Topaz Adjust Selectively |
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100 | (1) |
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The Softer Side of Topaz Adjust |
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101 | (1) |
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102 | (1) |
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Photomatix Meets Topaz Adjust |
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103 | (6) |
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Topaz Adjust: Details and Spicify |
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104 | (1) |
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Topaz Adjust: Portrait Drama and Spicify with Noise Greatly Reduced |
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105 | (1) |
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Topaz Adjust: Exposure Correction |
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106 | (1) |
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Topaz Adjust: Exposure Correction with Saturation Reduced |
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107 | (1) |
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Topaz Adjust: Portrait Smooth |
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108 | (1) |
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Expanding Dynamic Range in Photoshop |
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109 | (4) |
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Adjustment Layers are the Law |
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110 | (1) |
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Basic Adjustments, Big Improvement |
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111 | (1) |
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Photoshop vs. Photomatix Pseudo HDR vs. Topaz Adjust |
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112 | (1) |
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Expanding Dynamic Range in Adobe Camera RAW |
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113 | (6) |
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Exposing for the Highlights |
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114 | (1) |
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ACR Preview Window and Basic Tab |
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115 | (1) |
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116 | (1) |
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Recovery and Fill Light to the Rescue |
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117 | (1) |
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118 | (1) |
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119 | (6) |
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First Look: Lucis Pro Adjustment Window |
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120 | (1) |
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Split the Channels and Work in Black and White |
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121 | (1) |
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122 | (1) |
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Lucis Pro Meets Lucis Art |
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123 | (1) |
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Lucis Pro vs. Photomatix Pseudo HDR |
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124 | (1) |
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Creating HDRs from Fast-Moving Subject Photographs |
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125 | (6) |
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Birds in Flight at Bosque de Apache, New Mexico |
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126 | (1) |
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Native American Action Shot |
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127 | (1) |
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128 | (1) |
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Pelican Coming in for a Landing |
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129 | (1) |
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130 | (1) |
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131 | (8) |
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Basic HDR Process Multiplied |
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132 | (1) |
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Standard Photomatix HDR Processing |
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133 | (1) |
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134 | (1) |
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135 | (1) |
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HDR Pano vs. Traditional HDR |
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136 | (1) |
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Manual Exposure vs. Automatic Exposure |
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137 | (1) |
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The Fun and Creativity Continue |
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138 | (1) |
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139 | (8) |
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140 | (1) |
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Nik Silver Efex Pro: Neutral |
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141 | (1) |
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Nik Silver Efex Pro: Neutral |
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142 | (1) |
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Nik Silver Efex Pro: Underexposed -1 |
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143 | (1) |
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Nik Silver Efex Pro: Antique Plate 1 |
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144 | (1) |
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Nik Silver Efex Pro: Neutral, Yellow Filter |
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145 | (1) |
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146 | (1) |
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My HDR Gear: The Stuff of Magical Imagery |
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147 | (4) |
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Cameras, Lenses and Tripods |
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148 | (1) |
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149 | (1) |
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150 | (1) |
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151 | (8) |
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152 | (1) |
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153 | (1) |
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154 | (1) |
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Rick's Digital Learning Center |
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155 | (1) |
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156 | (1) |
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157 | (1) |
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158 | (1) |
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Post Script - Learn by Questioning |
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159 | (22) |
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178 | (2) |
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180 | (1) |
| Index |
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181 | |
Lisainfo e-raamatute kohta