Then the trick is simple: select the Dark Frame layer (which needs to be the top layer) and change the blending mode from its default Normal setting to Subtract: Apply the subtract blending mode to the top layer In Photoshop, one needs to copy the dark photograph (aka the Dark Frame) onto the real photograph (the first one) as a layer: The layers in Photoshop One still needs to capture two frames using the same equipment, exposure settings and on the same location and under the same climate:ġ-The real photograph 1st test shot to use with the Dark Frame Subtraction process 2-A dark photograph achieved using the lens cap on 2nd test shot used for the Dark Frame Subtraction processįor the experiment here I decided to start from within DPP to show the Hot Pixels given that Camera Raw (the engine behind Adobe Lightroom and Photoshop) deals with Hot Pixel(s) (as much as it can) when interpreting the RAW file, unlike DPP.įrom DDP I created 2 TIFF files out of the 2 RAWs and then opened each in Adobe Photoshop.
At the end of that episode, I told you, another way of achieving a similar result, if not better, was to apply the Dark Frame Subtraction manually in tools such as Adobe Photoshop. In this episode, I show you how you can deal with the Thermal Noise (Hot Pixels) resulting from a long exposure, with a Dark Frame Subtraction (DFS) using Adobe Photoshop.Īs mentioned in the last episode ( In camera’s Long Exposure Noise Reduction – Good or Bad?) in order to address the Hot Pixel(s) also known as Thermal Noise in your photograph resulting from a long exposure, one can use the functionality found in most modern DSLR which basically follows the Dark Frame Subtraction method.
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