In part 1 I covered the process of building the best panoramas with little distortion by finding the no parallax spot in your lens. In part 2 we add in our model and use curves and levels to colorize the sky in Photoshop. In addition, this tutorial builds on utilizing the combination of plugins and Photoshop to target specific tones of your image, which is a great technique when building a dramatic environment.
In part 2 we focus on color and bringing the photo to life with tones through Photoshop and a plugin from Nik software. Here is the final image:
Stay tuned for Part 3 where I will use another set of bracketed images to create the following photo with lens flare:
A for effort, D for execution.
These are great Gary, can't wait for part 3.
Although of course there are a multitude of approaches to these processes, I think it could have greatly been simplified using nothing more then levels and/or curves to achieve most of the objectives here. This would give you the luxury of modifying the effects at any time, something you can't do with a destructive effect like you get from the Nik filters (unless you smart move the layer, which will make an already "heavy" composite much heavier). Skewing the pole would've simplified straightening it while maintaining perspective orientation. A little translucency at the edges of the hair would blend that in, and setting the legs reflection layer to luminosity would maintain the processed colors of the car below it. My $.02. :-)
Loving the post processing videos. Whens part 3 coming Gary?