Selective Tone, traditional in its presentation, is the next logical correction after the Smart Lighting to give character to the image by controlling the overall brightness according to three tone ranges.
* The “Blacks” slider lets you set the blacks threshold.
* The “Whites” slider doesn’t exist. Exposure compensation must be used.
Unlike competing software that tightly corrects tonality within the exposure range of each slider, PhotoLab’s tools act as smooth curves that interact with each other.
* Thus increasing the highlights slightly increases the midtones.
* Decreasing midtones softens some of the highlights and deepens the top of the shadows.
* Defining the blacks affects the shadows. This crossover of effects gives smoothness to transitions and maintains the initial mood of the image.
The lack of a sensitivity setting for this behavior generates criticism. Some users find the overlap between tones too great, making the image look bland.
A first solution to counter this overlap is to use the Selective Tone and Global Contrast together.
The RGB values without correction of the gray background are 50 – 62 – 63 (illustration)
– Light tones are increased to 50. The gray background is lightened to 54 – 65 – 67
– Increase the overall contrast to 25. The gray background is restored to 49 – 61 – 63
This is not a law. Each image behaves differently.
Other combinations of adjustments can be tried to maintain good contrast in the image.
* The Black slider can be used to densify shadows or recover detail without compressing or raising midtones
* Smart Lighting often establishes a good base to start with highlights
* ClearView can also help with a roundabout way of using it, but at the cost of unbalancing the image. Beware of reducing mid-tones and excessive contrast.
Here’s another procedure for adjusting overexposed areas and restoring contrast.
The Fine Contrast (FC) sliders from the FilmPack Elite plug-in are more effective at removing clipping than their Selective Tone (ST) namesakes.
– Lowering the lightness slider from ST to -20 removes clipping but at the cost of gray convergence
– Lowering the lightness slider from CT to -5 is more appropriate
Used together they modify the tone and restore the contrast. The principle is to distribute the values between the two corrections.
– The desired tone is obtained; light slider from ST to -30, medium to +20 and shadows to -10
By applying a half correction to Selective Tone and Fine Contrast, the same effect is achieved by restoring the correct contrast.
– ST sliders at -15, +10 and -5 AND
– FC sliders at -15, +10 and -5
Once again, this is not a law.
Do not hesitate to create a personal preset (or several) to quickly implement all these corrections (there are 6 sliders to manipulate).
– Call up this partial preset during development
– Double click the sliders to undo unnecessary corrections
– Play with Undo / Redo (Ctrl+ Z / Ctrl+ Y) to check the effects
Beware not to confuse light overexposure with channel saturation.
– The RGB value 255, 255, 255 means that this pixel is clipped
– The RGB value 255, 192, 128 means that the Red channel of this pixel is saturated
The indicators of the histogram, despite the color code, create confusion.
See the chapter “The Histogram”.
* The “saturated color protection” of the Color Rendering allows to keep details in the detected areas by desaturating some pixels of the group.
* The Tone Curve is an alternative way for intervening quickly on the blacks and the whites (illustration). In the “Light” palette, it is available in luminance and for every RGB channel.
– Right click on a point to delete it
PhotoLab handles backlighting and glare very well with the “4 – HDR single frame” giving a good starting point.
Comments on the illustration:
With traditional PhotoLab corrections, a user could not render the glare of the scene. To render the impression of glare in daylight, PhotoLab’s single-frame HDR preset does the trick
– WB 6000K and Microcontrast +70
Note the exceptionally high value
Review of the operation = 4 corrections
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