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Nice treatment, not overdone. I like it! Care to share your process?
first, open all frames that go into the image in Camera Raw, make sure all are same color balance, adjust each to what they are supposed to do in the final image, which means the dark image can't have any whites, lots of detail in the areas that are later the highlights, the medium image needs to go from white to black, and the bright image can be slightly blown out in the highlights, but have lots of detail in the dark areas, but no absolute blacks. Rest is normal stuff like remove chromatic aberration, color profile, etc. I don't touch clarity or vibrance at this point.
Open all images into CS6, then file-automate-merge into HDR Pro. Here, ignore all the presets and make sure it goes into 32 bit mode. All the adjustments disappear except for remove ghosts in a check box, which I checked here, but I don't really know what it does. The look of the image at this point is usually horrible - but we're not done yet. Click OK and once the file is loaded in Photoshop do nothing but save it to 32-bit TIFF.
Next step is the trick (thanks, Gavin Hoey) - go back into bridge and right click the 32-bit TIFF, and choose "open in Camera Raw" from the drop down menu. Now you are looking at a file with +/- 10 stops in camera RAW. I do the full Serge Ramelli - -100 highlights + 100 shadows, adjust White and Black to liking. Add some clarity, do some local adjustments, load into Photoshop, save. Done.
Thing is, I could probably get a near identical image from the normally exposed RAW file of the D600 doing those last steps to just that file. Not quite, but close, since the dynamic range is so good. Ideally, I would like to shoot 3-frmae bursts with +/- 3 or 4 stops, but I think the camera can't do that.