Mar 23 2011

Mastering HSL Controls in Lightroom: 3 Great Resources

Category: Photoshop & Lightroom, UncategorizedEthan G. Salwen @ 8:56 am

HSL_1_01The HSL controls in Lightroom (stranding for “Hue, Saturation and Luminance”) give us the power to make amazingly subtle (or dramatic) nondestructive edits to specific colors within an image. Very, very cool.

By giving us three different ways to adjust eight distinct colors, the HSL controls offer a way to work in specific areas of image — based on where those colors are found — with an amazing degree of finesse. This is a kind of localized control that not too long ago could only be performed by creating complex masks in Photoshop, although even then the control was less sophisticated.

The HSL controls are very, very cool and should be well understood by all photographers. However, learning to use HSL (at least for me) is not an intuitive process. Really mastering HSL requires good instruction.

Whatever your current HSL I.Q. is, you will likely benefit from one, two or all three of these resources.

#1: Video Demo of Basic HSL Functionality. In “Using HSL in Lightroom 3 Hue Saturation and Luminance” Mark Dickinson shows us the HSL sliders in action, showing us how to quickly play around to understand the importance of the red, orange and yellow controls for adjusting skin color. If you are new to HSL, Dickinson’s five minute video will help orient you to the possibilities before gaining a deeper understanding of what’s going on.

#2: Clear, Concise Explanation of Controls. In “Using Lightroom’s HSL / Color / Grayscale Panel” Martin Evening provides an explanation of HSL functionality that is clear, concise and in-depth — all at once. Adapted from Evening’s Adobe Photoshop Lightroom 3 Book, The: The Complete Guide for Photographers and focused on helping us make “fine-tuned color adjustments in Lightroom,” this article is perfect for photographers who want the HSL skinny with no fuss.

#3: In-Depth HSL Understanding. Writing for X-Equals, Michael W Gray has done us a wonderful service by dishing up a brilliant, clear, in-depth three-part series on the HSL controls in Lightroom, from conceptual underpinnings to practical usage. Filled with fantastic graphics — that you can download to “play along” — you’ll find:

Mastering HSL in Lightroom – Part 1 of 3 — In depth exploration of “exactly what the HSL is and how it is used,” showing a range of effects on an X-Rite Color Checker. Really sweet. (Gray, in true über photo nerd from calls this the “basics of HSL.” If you’re not an über photo nerd, try to stick in there, as this information really is should be basic for serious photographers, even if it really is advanced.)

Mastering HSL in Lightroom – Part 2 of 3 — Gray shows us the importance of starting with camera profiles (an interrelated and important topic) and then helps us start using the HSL controls in a basic manner. (If you get lost in Part 2, still head to Part 3, which will help you make sense of Part II.)

HSL_3_13Mastering HSL in Lightroom – Part 3 of 3 – With “basics” (focusing on color correction functionality) covered in Parts I and II, Gray helps us see how to get more creative with HSL by cross processing and making color monochromes. These creative techniques — pushing controls to extremes — help us better see how the fundamental work. Very cool.

HSL Control Learning as Ongoing Process

Gray hits HSL learning on the head when, at the end of Part III, he says, “I would like to restate that the HSL is one of the most straight forward tools, but at the same time the HSL is so nuanced that it takes a long time and a lot of practice to be able to jump right in and carry out your desires.”

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Feb 17 2011

RAW Conversion Workflow Basics

AfterCapture Blog_110217_RAW Conversion Workflow Basics_1“What is the basic process of converting RAW files to other, more usable file formats?” This is the most fundamental question you must address if you are going to work efficiently with RAW files. This is the question I answer in “RAW Conversion Workflow Basics,” my most recent “RAW Processing Solutions” column for AfterCapture. (PDF here; complete text below.)

This article is geared both for newbies to RAW as well as for photographers with intermediate raw processing skills who want to better understand helpful conceptual underpinnings — especially in relation to working with raw files in Lightroom. (If you are a RAW processing wizard, you might want to share this article with confused colleagues or mentees.)

Topics covered include: • How RAW and JPEG files differ; • Differences between RAW workflows in Adobe Camera Raw/Photoshop and Lightroom workflow; • Step-by-step RAW to TIFF workflows in Photoshop and Lightroom; • What’s going on “under the hood” in Lightroom when working with RAW files.

RAW Conversion Workflow Basics

“What is the best way for me to get my RAW (Canon) files converted to TIFFs?” One of the magazine’s faithful readers, Mike P., sent us this great, basic question. I e-mailed Mike some basic advice explaining, in part, that: “There are any num- ber of ways to go from Canon RAW files (CR2s) to TIFFs, depending on one’s individual workflow. Since I don’t know your workflow, I’ll assume that you are looking for the most basic solution and so I will recommend using Lightroom 3 for the entire process.”

In this column I will answer Mike’s question more fully. It’s a great question because it’s so basic, and basic information is the most important information. After all, if we haven’t mastered the basics we get stuck and frustrated as we try to deal with nuances. As Mike wrote: “I’m having a heck of a time deciphering the RAW dilemma. Too much info out there and some of it is conflicting.”

Because Mike asked about the mechanics of making TIFF files from RAW files (and not about specific processing controls), I assume that his “RAW dilemma” might best be summed up by this question: “What is the basic process of converting RAW files to other, more usable file formats?”

AfterCapture Blog_110217_RAW Conversion Workflow Basics_2

Opening a RAW file in Photoshop launches Adobe Camera Raw, a powerful RAW processing engine. This is done by clicking “Open Image,” which converts the RAW file into a Photoshop file that opens into Photoshop, making it ready for further editing.

RAW Files Require Special Processing
RAW image files are unusable as captured in-camera. Therefore, at its most fundamental, RAW processing is the act of converting RAW files into other usable types of image files. RAW files can be converted into Photoshop files for further editing. They can be converted into TIFF files for publication or delivery to clients. And RAW files can be converted to JPEGs of various sizes and quality for printing, sharing and use in Web galleries.

RAW files are the capture format of choice for today’s photographers because Continue reading “RAW Conversion Workflow Basics”

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Nov 12 2010

5 Critical, Basic Conecepts for Lightroom Success

Category: Photoshop & LightroomEthan G. Salwen @ 6:46 am

AfterCapture Blog_101112_Lightroom Critical ConceptsLightroom is made to do so much so easy it’s a wonderful joy — until it allows us to so easily make slip ups that are major screw ups. Matt Kloskowski, does us all a great service with his post: “5 Common (or Potential) Lightroom Slip Ups.”

His list of top five slip ups, aka, critical, basic concepts we should know:

1. Moving photos while not in Lightroom
2. Reimporting your JPG exports
3. Resetting a photo’s settings just to see it in a different way
4. Not using collections
5. Thinking that Lightroom has a color space you can change

For each point Kloskowski’s provides brief, informed explanations, each that links to a helpful video. Sweet!

Also sweet are the loads of comments that expand on Kloskowski’s advice, serving up more Lightroom fundamentals and workflow inspiration.

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Nov 05 2010

Forget “Right,” Adjust Images To Be “Not Unnatural”

AfterCapture Blog_101105_Not_Unnatural_1

Is this color balance "right"? Who the hell knows!

“I’m not going to go too far though, because it will make the image look unnatural.” This is Chris Orwig discussing his use of the recovery slider in the Lightroom develop module, and his choice of words relates to a critical approach to developing images — using any adjustment in any program. It’s not about making things “right” as much as it is about making things “not wrong.”

When I am processing images, I often feel like I am in a vacuum. I am making the tiniest of adjustments as I try to make an image look right. But what is “right”? Right often feels like a moving, confusing target. It’s much, much easier to focus on making an image look “not wrong,” not unnatural.

Overdo It To Do It Right

After setting his recovery slider to achieve a natural effect, Orwig moves on to the contrast slider, and says, “I’m going to exaggerate for a minute.” This exaggeration is to help him see what’s really going on. As he plays with each control, he goes to extremes to clearly see how his actions affect him image.

Exaggerating with each control helps Orwig fine tune adjustments as he focuses on avoiding what looks unnatural, which is, arguably, the only way (through relative comparisons) to identify what is natural.

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Now I see! The same image looks more "right" when compared to what's clearly unnatural.

Chris Orwig Focuses on Being Reasonable

These thoughts occurred to me while checking out Chris Orwig’s great “Photoshop Lightroom 3 Essential Training” at Lynda.com. (The specific tidbit came  in his “Basic Develop module workflow” — Chapter 26.) When Orwig arrives at the contrast slider, he explains that as he increases the contrast, he also increases color saturation. “So now that warmth is way too warm,” he says. “Too warm” is another way of saying “unnatural.”

Avoiding unnatural warmth is a lot easier than achieving “correct” warmth, which, of course, is totally subjective. Orwig says, “So let’s bring this contrast back down to something more reasonable.”

In photographic processing, as in life, being reasonable is a lot easier than being right.

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Jun 14 2010

Rob Sheppard Sheds Light on the Natural Value of Video

Category: Multimedia & Video, Photographers, Photoshop & LightroomEthan G. Salwen @ 2:39 pm

“I love exploring the natural world,” Rob Sheppard shared with me enthusiastically when I interviewed him regarding the best ways photographers can approach video and multimedia. That was the same day I talked to Ian Shive and touched base with Tony Wu on the topic, and Sheppard’s comment about exploring nature was by way of explaining his openness to embracing video.

You see, for Sheppard, imaging technology — whether still, video or multimedia — is simply a means to an end. And for Sheppard, that end is about exploring nature, and then sharing his experiences with others.

If you’re not aware, Sheppard is a highly-respected nature photographer, writer, educator and the editor-at-large of “Outdoor Photographer.” He’s been helping educate still photographers for decades –30 books, hundreds of articles and seminars galore — and his intense focus on still imagery made his incredible enthusiasm take me by surprise. Silly, silly me.

Video for Life

During the hour we talked, Sheppard shared a wonderful breath of technical and creative insights. At the end of our call, I asked Sheppard what message he would like to share with nature photographers who might be hesitant about exploring the possibilities of video and multimedia. His beautiful response:

“To me, on a very personal level, nature is important. And I think nature needs our attention. People look at the natural world as place to extract things, but the entire natural world is part of a whole, and when we don’t respect nature it causes problems for nature, and for people as well. Continue reading “Rob Sheppard Sheds Light on the Natural Value of Video”

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Jan 04 2010

Smooth Photoshop Compositing Requires Clear Pre-Vision

Category: Creative Process, Photoshop & Lightroom, Workflow & DAMEthan G. Salwen @ 1:08 pm

ACB_100104_Compositing_1“There’s really not that much magic to it,” Aaron Goodman recently told me regarding compositing in Photoshop. “If you shoot everything properly in camera adhering to your original sketch, the digital can go extremely smoothly.”

Goodman’s comment makes perfect sense. As a New York-based photo illustrator working on tight deadlines, he always works from a concept sketch that has been approved by his client. There is no time to sway from his original vision and so he stays focused, and so his compositing goes smoothly.

Although Goodman’s comment about there not being much magic to his compositing might make sense, it still came as a surprise to me. For one thing, my compositing skills are basically nil and so Goodman’s techniques do seem like magic. For another thing, I have talked to a number of skilled compositors who often don’t know exactly what they are going to get until they delve into postproduction.

Andrew Matusik is photographer who is a postproduction über wizard, and whose aesthetic depends on the composting magic he works. Like Goodman, Matusik often needs to get in and out of post fast — sticking to a plan. But he’s  shared with me how much he relishes the opportunity to explore his vision while compositing, discovering unique possibilities for a specific image in an organic, unplanned manner.

Clearly there are two polar extremes to how one can approach a compositing workflow in Photoshop. One is to have a crystal clear vision going in, stick to it, and then get out as fast and smooth as possible. No digressions allowed. The other extreme is to have an open-ended vision going in, and to have the time to make discoveries while compositing. Digressions expected.

Photoshop compositing of this image was easy fro Aaron Goodman because. . .

Photoshop compositing of this image was easy fro Aaron Goodman because. . .

Clearly there is a whole spectrum of composting workflow options between these two extremes. What seems most important is that we know exactly where we are on this spectrum of compositing approaches for each project we are working on.

This might seem like a obvious statement. But I think Continue reading “Smooth Photoshop Compositing Requires Clear Pre-Vision”

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Dec 03 2009

dpBestflow.org: An Amazing, New Digital Imaging Resource

ACOF_091203_1_bestflowThere is a new digital imaging online reference and educational resource of which all photographers should be aware. Launched on November 11, dpBestflow.org aims to be the single most authorative site for digital imaging best practices and workflow strategies, and even if “the best” is subjective, the immense value of this site can’t be denied.

Free to all — with no log on required — dbBestflow.org was created by photographers for photographers, and was made possible with major financial backing from the Library of Congress.

Developed with the clear vision and leadership of Richard Anderson, photographer and digital standards expert, dpBestflow.org is presented in a clean, intelligent design that is intuitive to navigate. However, it takes some exploration to Continue reading “dpBestflow.org: An Amazing, New Digital Imaging Resource”

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Jul 09 2009

Learning Strategies for Video Tutorials

Category: Creative Process, Photoshop & Lightroom, Workflow & DAMEthan G. Salwen @ 10:39 am

ACMF_NG_099At the start of his Photoshop CS4 training video series on Lynda.com, Chris Orwig makes a savvy pedagogical move by suggesting some critical, if basic (and underappreciated) tips on note taking while engaged in video learning. These are great, as we all know how easy is it to watch a training video, say “Ah ha!,” and then quickly forget what had us saying “Ah ha!”
Continue reading “Learning Strategies for Video Tutorials”

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Jun 01 2009

On Heartless Retouching

Category: Creative Process, Photoshop & Lightroom, ViewpointEthan G. Salwen @ 9:37 am

ACMF_NG_072“My feeling is that for years now it has taken a much too big part in how women are being visually defined today,” photographer Peter Lindbergh recently reported to “The New York Times” in regard to digital retouching. He added, “Heartless retouching should not be the chosen tool to represent women in the beginning of this century.”

With this sentiment, Lindbergh brings the “too much or too little” arguments about retouching to an important level of social concern relating to one’s sense of identity. This is a lot more interesting than Continue reading “On Heartless Retouching”

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