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| A pair of Swans - Page 2 | |
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| Posted: Thu Mar 10th, 2016 07:14 |
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11th Post |
Robert
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Not mine JK, Belongs to a very nice man who lives nearby and lets me use it when I need it. Been driving them breaking them and mending/modifying them for longer than I can remember. Bigger and heavier the better! This is an 18 Ton one, in 1972 when I had a beard...  I have driven 25 and 30 ton machines quite a lot. The bigger they are the easier they are, the one I have today is only 1.5 tons. But then I wouldn't get a big machine in.
____________________ Robert. |
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| Posted: Thu Mar 10th, 2016 14:42 |
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12th Post |
Robert
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OK, back on topic, (cause Mike has 'borrowed' his digger back...)  I have felt very limited by the inability to set the white and black points in Adobe Lightroom with a similar effect which is so easy in Photoshop, it has been bugging me for a while. I feel that setting the white and black points of an image is a fundamental step in the processing of almost every image. So, Google to the rescue and several attempts later hey presto! I have the answer. At the start of processing the image if you feel the need to set the white and black points of the exposure then it's very easy. If you hold down the Option key while sliding the White slider in the Develop mode of Lr, the screen goes black and then when the setting is optimal the area which will clip white appear as red zones, in a very similar way to the 'Plowden' method in Ps. Once set, repeating with the option key held down and slide the Black slider until the black clipping point appears, as blue zones. It's a matter of personal preference, per image if the whites and blacks are allowed to clip or not. In this case I allowed both white and black points to clip. This is the same image which Eric said was muddy and grey on his monitor, I think it should be pretty white now Eric. Aided by setting the WB on a non clipped part of the birds plumage. This screen shot is in the Lr Develop mode, the red zones represent the blown or clipped whites, blue zones the blown or clipped blacks:  This is in Library mode after setting the white and black points and the WB but not much else, slight tweak of -1/3 stop exposure and pulling the highlights back a bit.  This is a 1:1 crop showing the water droplets and texture of the swans feathers, no sharpening or added clarity, this is purely exposure control.  Thank you for the critique Eric, it forced me to finally crack this particular nut. Whoops! I thought this was the same image I posted at the top of the thread, it isn't the same one but it's very similar. 
____________________ Robert. |
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| Posted: Thu Mar 10th, 2016 16:45 |
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13th Post |
Eric
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Well to me, they are not such ugly ducklings...but very fine swans indeed. The important question is whether YOU think the images are better? If I was to get real picky ( if LR allowed?) I would mask the left swan and reset ITS white point separately to the right swan. This could minimise the amount of burn out on the left swan. Situations like this are when the three key masking trick ( not avaialble on Mac) is so useful. It enables you to concentrate on the high register elements of the image and leave everything else unmasked.
____________________ Eric |
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| Posted: Fri Mar 11th, 2016 00:59 |
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14th Post |
Robert
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Eric wrote:Well to me, they are not such ugly ducklings...but very fine swans indeed. Thank you! The important question is whether YOU think the images are better? Much better yes, Swans a white, not muddy grey, I was more struck by the pose, rather than the colour. Probably not thinking properly and with no critique to hand, posted here. If I was to get real picky ( if LR allowed?) I would mask the left swan and reset ITS white point separately to the right swan. This could minimise the amount of burn out on the left swan. Will try it, masking is available but I have only used graduated, full width like sky or foreground. Will try that I have an idea how it might work. Situations like this are when the three key masking trick ( not avaialble on Mac) is so useful. It enables you to concentrate on the high register elements of the image and leave everything else unmasked. Is that the technique where you use the ⌠and option keys, I can't remember the keystrokes but I did manage to make it happen a long while ago on some IR images which needed pulling back at the bright end. I think I marked it on the appropriate keys but I have changed keyboards at least twice since then... Would you remind me please?
____________________ Robert. |
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| Posted: Fri Mar 11th, 2016 01:30 |
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15th Post |
Robert
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OK, I had a little play and in Lr, it's a two click trick! Click the selection tool at the right of the selection tools, then click on the overexposed area, it immediately subdued and became much better, it seems it automatically reduced the highlights by 25%, That is variable and can be adjusted at will or any other adjustment can be made. The size and ovality of the selection can be adjusted too by dragging the edges.  Getting to know the quirks and less obvious features of software can be quite a challenge at times. Edit: Just found how to show the actual mask area... 
____________________ Robert. |
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| Posted: Fri Mar 11th, 2016 08:27 |
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16th Post |
Eric
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That looks perfect to me!!
____________________ Eric |
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