You can also merge the three ambient images in photomatix two times - once with a tungsten WB and once again with a daylight WB and the blend the results using a mask. It goes without saying that all of this requires a tripod. You would also need to take a high shutter speed shot without flash to capture the windows and other portals to the exterior correctly, and then blend these into the composite as well. This way you avoid the multiple color temperature problem and have more control over the lighting in your scene. You can use a high shutter speed (at least the sync speed of the camera) to cut the ambient light from each image, then take a single, well exposed ambient shot without flash the blend into the composite. You can use a single flash and take multiple images with flash illuminating different parts of the scene, then composite those images into a single result. ![]() ![]() You can try a different route which involves illuminating the interior exclusively with flash, possibly gelled to match the exterior color temp. This is a common issue when shooting interior-exterior scenes. You will need to correct the cast in the exterior portions of the scene with a mask or a blend if. If you white balance for the interior, you will shift the exterior lighting more toward blue, which will result in the appearance you see in your image. In photomatix, you would need to manually enter the exposure value of the flash images if you are going to use those images.Īlso, the exterior areas of your image are purple-bluish because you have two different color temperature light sources in your image - the interior is lit by a lower color temperature (warmer, say around 3000 °K) source (the ceiling lights) and the exterior scene is lit by daylight, which is cooler in color temp than the interior (say, 5100 °K or so) and shade, which is even cooler (say ~6500 °K). It seems like your raw files have a mix of ambient exposures with shutter speed variation and then a couple of flash exposures. Smaller, less well known Raw engines like the Open Source DCRaw that is used in several dozen applications can do it faster, but the big advantage goes to the maker's own software that, forewarned, can be ready to roll together with the release of the new model. So once in about every three months the major third party software suppliers have to issue updates. A dozen years ago Adobe offered a free open standard Raw format called DNG for all to use for the most part the offer was rejected. Why? They claim they are protecting "trade secrets". ![]() It's not just Canon, all the major makers do it. ![]() Sometimes the change is justified by the need to accommodate new camera technology, but more often it is merely cosmetic but enough cause all the authors of Raw conversion software have to rewrite some code. CR2 is not a recognized format that must adhere to international standards, it is Canon's private property where they can do what they please and it apparently pleases them to change its structure for each new model. No two CR2s are the same if they are from different models. The camera being a Canon, the files are CR2 files, and I would have expected them to be the same CR2 as from my T2i.well, same format. I didn't see enough in the newer version to upgrade, although it's been a while since I've checked. The version of the SW as noted in the title is V4, but more specifically, it is 4.2.4.
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