After crawling out of the cave I’d apparently been living in and downloading Mac OS 10.6 to replace the not-retro-enough-to-be-cool OS 10.5 I was running on my iMac, I was able to download Nik Software’s latest high dynamic range imaging software, HDR Efex Pro 2. Lately I’ve been expanding the dynamic range of my images by hand blending multiple exposures in Photoshop using techniques I learned in Sean Bagshaw’s fantastic video tutorial, “Processing for Extended Dynamic Range“. Off topic, but if you’ve never checked out Sean’s work I highly recommend you take the time to do so. Not only is he an incredibly nice and quite humble guy, but he happens to be one of the very best landscape photographers in the entire Pacific Northwest region.
Getting back on topic, now that I’ve got HDR Efex Pro 2 on my iMac I thought I’d take it for a test drive on some recent images from the Tetons and on an old one from Moab that’s been sitting dormant on my hard drive for a couple of years. The photo you see above is the result of my first experiment. No doubt you all recognize the location: Schwabacher Landing. I’ve visited this spot several times over the years and until this trip had never produced an image there that was worth a crap. Better late than never, I guess.
I’m not a fan of HDR images that look like HDR images. I prefer mine to fall within the realm of reality. The first thing I noticed about HDR Efex Pro 2 is that it also seems to favor reality. I’m sure you can use it for evil, er…that crazy surreal looking HDR, but the default settings lean toward realism. Once the initial HDR merge is done you’re presented with the base image. There are three main panels on the right side of the HDR Efex Pro 2 software that you’ll use to process your image: Tone Compression, Tonality and Color. These three panels are where most of the magic happens. Below them you’ll find Selective Adjustments and Finishing. I’m still developing an efficient workflow but so far I find Selective Adjustments to be of little value. I prefer to use Nik Viveza 2 to make selective adjustments after the final HDR image has been rendered. Next, let’s briefly touch on each of the remaining panels.
Tone Compression – Here you’ll find adjustments for tone compression, method strength and HDR method. One of the most useful new features is “HDR method”, as it allows you to choose from three different categories by simply clicking a button to make changes to your image. The HDR method categories are: depth, detail and drama. Again, the defaults are pretty conservative and they generally create a more realistic image. You can get all kinds of grungy here if that’s your thing but it’s just as easy to keep it real. Without going into great detail I can’t fully explain what each of these adjustments does but the title of each one should offer a bit of a clue. I recommend you play with each adjustment on a few of your images to see what effect it has on your photo. The changes are real time and can easily be reset if you don’t like what you see.
Tonality – Here you’ll find sliders for Exposure, Contrast and Structure, with sub-sliders for shadows and highlights, blacks and whites under Exposure and Contrast, respectively. These are pretty self-explanatory and again, they work in real time.
Color – Saturation, Temperature and Tint sliders. One more time, these need no explanation. One word of advice: a little goes a long way.
Finishing – Just as the name implies, the adjustments you’ll find here are more local, less global. They are: vignette, graduated neutral density filter, and levels and curves. Vignette and levels and curves do just what you think they’d do. So does the graduated neutral density filter, except that it does it better than you’re imagining! Not only can you control the density of the filter at the top AND bottom of the image, you can control the blend, rotation and the vertical positioning. All of this is accomplished using simple sliders. It may not sound like much but once you use it a couple times you’ll be blown away by the power it wields.
I’ve given you just enough information to whet your appetite. If you’re curious enough to try out HDR Efex Pro 2, and I really think you should, visit the Nik Software website to download a fully functioning, free 15 day trial. Run a few images through it and decide for yourself whether it’s worth the investment. If you do pull the trigger, use coupon code “BEDGE” at checkout to receive a 15% discount off the retail price. Give it a shot, then come back and leave a comment with your initial impressions of HDR Efex Pro 2.











6 Responses to “Nik Software HDR Efex Pro 2: First Impressions”
Alex Filatov says:
Informative review Bret, I’ve thinking about checking it out. Although I do manual blends I may just give this a try!
Rich says:
I upgraded from HDR Efex to HDR Efex 2 a few weeks ago. The interface and processing workflow is very different between the two versions and I’m still looking for a good tutorial to walk me through the entire process.
I agree with you that version two tends to create nice realistic HDR images, and that’s my goal as well. I want people to say “wow” but never know that it took multiple exposures to get the wow image.
I am a big fan of all the Nik software and HDR Efex 2 is no exception.
Thanks for your review.
Bret Edge says:
Thanks, Alex. I also do manual blends and I see HDR Efex Pro 2 as just another tool in the toolbox. Some times the manual blends don’t work out well and HDR comes to the rescue. Other times, it’s opposite. I like having options!
Bret Edge says:
Thank you for the comment, Rich. My thoughts parallel yours in that I want people to enjoy the image for what it is without wondering what kind of processing is behind it.
Bill Pelzmann says:
Those are very nice images, Brett, and the processing is natural, spot-on.
However, did the dynamic range really require HDR?
It appears the lighting was well within the range of what the LR4 shadows and highlights could handle well ??
Bret Edge says:
Thank you for the comment, Bill. My aging iMac won’t run Lightroom 4, which requires a multi-core processor. So, I’ve no idea if the dynamic range could have been handled by the new shadow and highlight controls in LR4. Both images were too high contrast to have full detail recorded in a single exposure without the use of a graduated neutral density filter. In both images, if I used the highlight exposure the shadows were too dark to reveal detail without running into noise issues. Perhaps one day I’ll spring for a new multi-core iMac and LR 4. Until then, I’m stuck with the tools I’ve got – which ain’t all that bad!