the blog of Seldom Seen Photography

Image Evolution

New Lightroom CC and Range Masking

Adobe recently updated Lightroom, in the process creating a new version of the program. They renamed the old version Lightroom Classic CC, while the new version took the previous name of the old version: Lightroom CC. Confused yet?

If you have the photography CC subscription service (currently at $10/month), either version is available to download – but you can only have both if you fork out an extra $10 per month. The new Lightroom CC is the wave of the future. It’s main feature is that your Lightroom catalog and all your photos are saved to the Adobe cloud so that you can work on them in Lightroom from anywhere with a internet connection. Sounds like a great idea. The service comes with 1 TB of storage on the cloud. Unfortunately, I would need about 4 times as much space to upload all my photo files. And while I’m sure I could rent extra cloud space, I’m not sure I ready to give Adobe more money yet.

I have my own somewhat convoluted way of working in Lightroom on multiple computers. I export selected portions of my Lightroom catalog with smart previews to the 20GB of cloud storage that comes with the old Lightroom (and the Lightroom Classic), then work with that catalog when away from my main desktop computer. When finished, I import the catalog back into my main catalog. So, for now, I’m sticking with Lightroom Classic.

Plus, Lightroom Classic received a nice upgrade. Reportedly its speed performance has improved, but what I really like is the addition of range masking. Now, any mask made by the adjustment brush, gradient filter, or radial filter can be modified by color or luminance. Simply first create a rough mask using one of the three tools.  Then, at the bottom of the Mask dialog, there’s a new setting labeled “Range Mask” with the default setting of off. Change the setting to color, and you get an amount slider and a color picker tool. Only want your blue sky to be selected, use your mouse to select the color picker, move it to the blue sky and click – the other colors are deleted from the rough mask. You can shift and click to select multiple colors and click and drag to define a “box” of colors. It helps to have the Mask Overlay selected to see how your mask changes.

The luminance setting for the Range Mask works similarly, but with brightness instead of color. It does not including a picking tool, but has a “two-handled” slider for defining a brightness range and a smoothness slider. With your mask overlay on, it is easy to play around with these two sliders to see the effect.

The photo above, that I took in mid-October in northeastern Washington, provides an example of the usefulness of the new range masking. I actually first tried developing the image without the new range masking tools. And while the result was nice, it did have problems. Specifically there was some haloing around the aspen trees, I couldn’t get the brightness of the leaves and tree trunks to what I wanted, and the sky color was not totally natural. I probably could have corrected these issues with Photoshop, but thought I’d try the range masking tools in Lightroom to see if they could help.

Below is a progression of how I developed the image in Lightroom Classic starting with the original image with default Lightroom settings.

Undeveloped image of Tiger Meadows, Colville National Forest

Here is the image in Lightroom following all “global” adjustments. The adjustments applied include setting white and black points, highlight and shadow adjustments, adding clarity and vibrance, lens corrections, a vertical transformation to straighten the tree trunks, and a small amount of dehaze and vignetting. I wanted to add more dehaze, but its effect on the sky was too harsh.

I want to darken the sky, so I’ve added a gradient filter. But obviously, there is a lot more than sky selected. Previously, I’d use the eraser brush to get the right selection – that was a lot of work.

Now with the range masking, instead set the range mask to color and used the color picker to pick blue and used the adjustment slider to give me the correct selection. I then darkened the sky by lowering the exposure and black point, with just a small amount of extra dehaze.

I wanted to give the rest of the image more dehaze, so I made another gradient filter covering almost the entire photograph.

To get rid of the blue sky from the selection, I again set the range mask to color and used the color picker to pick multiple colors except the blue. adjusting as needed with the amount slider. From the resulting selection, I increased the dehaze my desired amount (this amount of dehaze in the sky would cause unacceptable haloing around the trees and would make the sky color less realistic).

Next, it was time to work on the backlit leaves. To select theses, I used the adjustment brush and made a rough selection in the trees.

To get the correct adjustment, I set the range mask to color once again and used the color picker to pick yellow, using the amount slider to get the selection I want. Once I had it, I increased the exposure slightly and gave the shadows a boost.

Next, I wanted to brighten the trunks of the aspens. So again I made a rough selection with the adjustment brush.

To get the correct selection, I set the range mask to Luminance and used the range sliders to get the approximate range for the tree trunks. Once I had a good selection, I increased the exposure and the white point.

Once again, here is the final image with separate adjustments for the sky, the land, the backlit leaves, and the aspen tree trunks thanks to the new range masking tools.





Image Evolution: RAW to Print – Autumn Grass

Autumn GrassI recently was completing some long over due editing from shots I took in 2013 and came upon this image. I had not touched it since importing it into my Lightroom catalog nearly two years ago. I decided to see what I could do with it. Below is the original file as imported into Lightroom and the version after processing in Lightroom. The feature image is the finished product out of Photoshop.

I was originally attracted to the image because of the pattern of the yellow grass and the scattering of the red leaves. The scene was in shade on the afternoon of a late fall day in November – there was not much available light. I can’t remember if I was without my tripod, or just too lazy to use it, but I took the shot handheld. To have a fast enough shutter speed to not have camera shake, I upped the ISO to 1600, which resulted in a shutter speed of 1/60th of a second. It wasn’t enough. Viewing at 100% in Lightroom showed the image was not sharp.

I thought it might be saved with the shake-reduction filter in Photoshop, so I opened up PS. Indeed, the shake-reduction filter seemed to work wonders. My workflow is normally not to bring an image into Photoshop until I’m done with it in Lightroom, but rather than go back to Lightroom, I opened up the camera-raw filter and attempted to do my “Lightroom” processing there. (Adobe Camera Raw and Lightroom reportedly have the same capabilities.) I was quickly reminded why I like Lightroom better than Adobe Camera Raw and scrapped the image and started fresh again in Lightroom.

In Lightroom, I started, as I normally do, by doing a default lens correction and adding noise reduction to counteract the high ISO noise. Following my normal workflow, I went to the Basic menu and worked on the tone and presence. I started by reducing the exposure by about 1/2 a stop, warmed up the temperature to rid the image of blue tones from the blue sky reflection and adjusted the tint to add a bit of green. I then adjusted the clarity (to the mid 20s) and vibrance (to the mid 30s) sliders to punch up the colors a bit. That’s a bit more vibrance than I normally use, but it seemed like it needed it. The vibrance wasn’t helping the reds enough, so I also added a small amount of saturation.

I then set the white point with the white slider and adjusted the highlights slider down. I normally set the white point, usually increasing it, as a way to improve contrast. It often results in the highlights being lighter than I want; such was the case here – thus the reduction of the highlights slider. It took several iterations to get it where I liked. I then set the black point with the black slider (and thus finish the contrast improvement without using the contrast slider, which I normally leave set at zero – as I did here).

At this point, there was one leaf in the upper half of the photo that was too bright and distracting. So I used the brush tool to dim it down a bit. With that bright leaf now dimmer, I made one final adjustment to the white and highlights sliders. Made a final adjustment to the temperature slider, and punched up the image a bit more by using the dehazing slider and added just a touch of vignette to help focus the eye into the image. The result is the second image below.

At that point, I exported to Photoshop and re-accomplished the sharpness fix with the shake-reduction filter. After working that shake-reduction magic, I followed my normal Photoshop workflow for nature/landscape shots by working Tony Kuper’s triple play actions on the lights and darks (these actions use luminosity masks to affect the contrast, brightness and detail definition – in this case I was most interested in the detail definition).

From there I worked on targeted adjustment to bring my final vision out for the image. I wanted to yellow grass to really stand out, so I made mask for the yellows and used it on a levels adjustment layer to make them brighter. I only wanted this effect on the yellow grass in the center of the image, so I placed the levels adjustment layer in a group and masked the group, allowing only the center portion to be affected.

Next, I thought the greens were too bright, so I again made a mask from the greens and used it on another levels adjustment layer to darken them up a bit.

In looking at the image, I still wasn’t happy with the reds, so I added a hue/saturation layer and bumped up the saturation just a bit on the reds only.

I finished it off by adding a dodging/burning layer, and painting black to darken, I darkened approximately the upper 1/4 of the image as well as a bit on the sides and bottom. This improved upon the vignette I had placed in Lightroom. The result – the image you see above.

It took much longer to write this than to do the actual work in Lightroom and Photoshop. I think, in total, it took about 20 minutes. In looking at it now, I think I may have overdone darkening of the shadows. But that is the beauty of Lightroom, I can easily open the PSD file made by Photoshop and lighten up the shadows a little. Maybe I’ll do that if I ever decide to print it, but otherwise, it is ready to print now.

As always, your thoughts and comments are most welcome.

Raw image with Lightroom default processing

Raw image with Lightroom default processing

Initial processing in Lightroom prior to taking the image to Photoshop

Initial processing in Lightroom prior to taking the image to Photoshop

Evolution of an Image: Previsualition to Print

Low Tide, Beach #4
Low Tide, Beach #4

This is the final image, which I’ve titled “Low Tide, Beach #4”

The image above is another from my trip to the beach last month. It is my favorite of the whole trip, and I recently made a print of it. I thought I’d tell you how this particular image went from just an idea to a final print. However, if you want to skip all the details, and just see what the original RAW image looked like, you can just compare the final processed version above with the unprocessed RAW image below.

Prevision: It was near sunset and the tide was low. I had wanted a sunset shot with tide pools in the foreground, but that idea was out because of the fog bank I described in my earlier post . Instead I thought about an image with tide pools and the incoming waves  mist-like on the shore. Because it was so gray out, for color I needed starfish (which are naturally purple and orange on this part of the coast) and green sea anemones. I wanted the starfish and selected tide pool to be the focus, with the rest of the image dark and misty (from the waves).

Camera Work: I found a several promising tide pools, some of which I showed in the earlier post. I spent a lot of time at this one, I thought the composition looked good, with the tide pool opening to the right rear and the big cluster of starfish. To blur the incoming waves into a mist, I knew I needed a long exposure, which forced me into using a small aperture. The final image was taken at ISO 100 and f/22 for 8 seconds. Obviously I used a tripod. I needed to be close to the tide pool, requiring a wide-angle lens to capture the entire scene. I put on my 10-22mm zoom and set it to 22mm. Finally, I wanted the center of interest to be the starfish on the far side of the pool. This was actually close to the darkest part of the scene. To help I used a flash to light up the far side of the tide pool. The original RAW capture, with just Lightroom defaults, is shown below.

RAW capture

The original RAW capture processed only with Lightroom defaults

Lightroom Processing: As you can see, even with the fill flash, the rock with the starfish was very dark. I knew it would take some dodging and burning work to bring it out to my original vision for the image. However, first things first. I always do global adjustments (those affecting the whole image) first before targeted ones. Usually my first step is to level the horizon and use LR’s lens correction feature. I typically use a bubble level on my hot shoe to help keep the horizon level when I shoot, but with the flash, that wasn’t possible. With the wide-angle zoom, there is a lot of distortion and chromatic aberration, both easily fixed in LR.

lens correction and crop angle

Slight rotation to level the horizon and reduce lens distortion with LR lens correction feature.

Next I adjusted the white balance. I slid LR’s blue-yellow slider to the right (yellow) to add warmth to the image.

adjust white balance

Added some warmth by adjusting the white balance.

The image needed a bit more contrast, so I then set the white and black points by using the Whites and Blacks sliders. In this case, I moved the sliders to broaden the histogram and add just a little clipping of both blacks and whites.

set white and black points

Set the white and black points; adds contrast.

I knew I wanted to essentially invert the luminosity of the image, making most of the image darker and lightening up the back wall (which is dark in the original capture). To most effectively do this, I darkened the whole image by significantly moving the Exposure slider to the left (about 3/4 a stop), then recovered that much in the dark areas with the Shadows slider, moving it to the right.

adjust exposure and shadows sliders

Adjusting to darken everywhere by the shadows using the Exposure and Shadows sliders.

This was generally it for global adjustments, at least initially. Now it was time to work on problem areas to bring out my vision. First, the sky and water was still too light. So I added a Graduated Filter in LR. I used a relatively soft edge, and set the center of the gradient about 1/4 the way down from the top, reducing the exposure by another 1/3 stop. Then to add a bit more contrast to the background rocks and water, I adjusted the Contrast slider on the filter to the right.

add graduated filter

My first targeted adjustment, darkening and adding contrast to sky, water and background rocks with a Graduated Filter.

Next I knew I needed a lot of painting with the Adjustment Brush. First I needed to lighten up the main area of interest – the tide pool and nearby rocks. The following shows where I added the brush and the effect. I added about 1/2 stop with the Exposure slider and even more with the Highlights slider to bring out the highlights.

first brush area

Area of first brush

first brush
Effect of first brush – lighten main area of interest

It was still to dark in my primary subject area, so I painted a second time in the area shown below. This time I added another 1/2 stop in exposure, with lighted up the shadows more, added some “crispness” with the Clarity slider, and bumped up the color with the Saturation slider. (Normally, I do not use the Saturation sliders much in LR. I more typically use the Vibrance slider as a global adjustment. Here, to really emphasis the back wall of the tide pool, I didn’t use the Vibrance slider at all, and only used the Saturation slider with targeted adjustments).

Second brush area

Area of second adjustment brush

add second brush

Effect of second brush – emphasize back wall above tide pool by lighten overall, lighten shadows, and adding clarity and saturation.

Now it was time to work on the water in the tide pool. I wanted the highlights in the water to show better, and for there to be more contrast between the light and dark portions of the water. So I added a little exposure and bumped up the Highlights and Contrast sliders. I also upped the saturation slightly.

Third brush area

Area of third adjustment brush

third brush

Lightening highlights and adding contrast to the tide pool water.

That helped with the water, but I wanted the white areas of the water in the tide pool to be more pronounced, so I painted those areas with another adjustment brush to lighten them up.

Fourth brush area

Area of fourth brush

Effect of fourth brush

Effect of fourth brush – lightening the white areas in the tide pool water

I wanted to add a bit more color and lightness to the starfish and anemones  (on the rock and in the water) in the foreground. So I added another adjustment brush, upping the exposure slightly and adding some saturation.

Fifth brush area

Area of fifth adjustment brush

effect of fifth brush

effect of fifth brush

At this point, I liked the luminosity of the areas I had used the adjustment brushes on, but thought the rest of the image was too bright for my original vision. So I decreased the exposure slider by another 1/2 stop to darken the whole image.

adjust overall exposure

Another overall exposure adjustment to increase the darkness of areas away from the tide pool.

Then I restored the exposure values to each of the previous adjustment brushes, adding back the 1/2 stop of exposure only in the brushed areas.

restore brush exposures

Restoring exposure to previously brushed areas to make up for the global decrease in exposure.

Then to further focus the eye to the center of the image, I added a vignette with the Post-Crop Vignette slider.

add vignette

Vignette added to help keep center of image the focus of the viewer’s eye.

With that done, some of the rocks on the left still seemed a bit too bright. So with another adjustment brush, I made them slightly darker.

sixth brush area

Area of sixth adjustment brush

sixth brush effect

Effect of sixth adjustment brush, slightly darkening rocks on left of the tide pool.

And, the white water at the mouth of the tide pool still looked a bit dark to me, so I added a seventh adjustment brush to brighten up this area a bit.

seventh brush area

Area of seventh brush, prior to partial deletion of brush.

seventh brush effect

Effect of the seventh adjustment brush.

At this point, I was close to the final, pre-Photoshop image. However, with all the adjustment brush work, the image had lost contrast (mainly by darkening the highlights). I needed to re-establish the white clipping point to gain back the lost contrast. So I adjusted the whites slider upward and also fine-tuned the color temperature (cooling the image slightly).

WB adjustment_ restore white point

After all the brush work, the image had lost contrast. So I re-adjusted the white point upward and fine-tuned the color temperature.

But with that adjustment, some of the white water at the mouth of the tide pool was too bright, so I deleted part of the seventh adjustment brush.

delete seventh brush

With a portion of the seventh adjustment brush deleted, the white water at the mouth of the tide pool looked better.

Now it was time for some touch-up work with the spot removal tool to remove sensor dust spots (I’m bad, I don’t clean my sensor nearly often enough). The dust spots were very visible because of the small aperture used on the image. I was able to fix all of them except one straddling the surf line near the upper center of the image; I knew I’d need the cloning tool from Photoshop to fix that one.

At this point, I was done processing the RAW image in Lightroom. Though it looks close to my vision, I thought I could improve it a bit further in Photoshop (in addition to fixing the final dust spot). Before sending it to Photoshop, I applied some noise reduction.

final image out of Lightroom

Here’s the final image as it came out of Lightroom, prior to additional processing in Photoshop

Photoshop Processing: The first step in Photoshop was to adjust the global contrast again, this time using Curves, giving it a slight “S” adjustment, and giving the image some more pop.

curves adjustment

Result of a Curves adjustment in Photoshop, slightly increasing the contrast.

I occasionally use a luminosity masking technique, known as the Triple Play, created by Tony Kuyper to improve the shadows and highlights when in Photoshop. I tried it out, and in this case, the Triple Play lead to a slight improvement in both the shadows and highlights.

triple play

Result from using the Triple Play actions by Tony Kuyper

I cloned out the final dust spot that I couldn’t fix in Lightroom. And then refined my previous Lightroom brushwork painting on a dodging/burning layer.

clone and dodge-burn

Final touch-up with cloning one dust spot I didn’t get with Lightroom and a bit of refining with dodging/burning.

The final step was to apply a bit of sharpening and the image was complete. I use an adjustable sharpening action based on the book Real World Image Sharpening with Adobe Photoshop CS2 by Bruce Fraser. The sharpening applied here is intended to sharpen to remove the slight blur caused by the camera. With that, the image was complete and my vision was realized. Easy right?

After the processing was done, the only thing left to do was make a print (I do additional sharpening prior to printing after resizing the image). I made 10×15-inch print, matted it, and it is now hanging at the gallery in Gig Harbor where one of my photo clubs (Sound Exposure) hangs their work.

You might be asking, “how long did all this processing take?” Though I didn’t time myself, it took much less time to do than to write this blog post. I’d guess the complete processing, from RAW to the final photo below (not including printing) took about 30 to 40 minutes. I don’t spend that much time on every shot; but in this case, I think it was well worth it.

final sharpening

The final image after source sharpening in Photoshop. This image is the same as the one at the top of the post and was used to make my final print.