the blog of Seldom Seen Photography

Photo Processing

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.





Worst of 2016 and Lessons Learned

As now has become my tradition, instead of the best of the year, I give you the worst. Well probably not the very worst, since those are often deleted immediately. While I had a reason to originally shoot these images, the only reason to keep them is to learn from my mistakes. I present these to let you, as well as I, learn from some of my mistakes. I have been doing this exercise of picking the worst of the year now for four years, and I do have to say, it appears harder each year to pick truly awful photos. Perhaps I’m learning? So, here are some of my worst shots of 2016, one for most months, both out of the camera (with default Lightroom processing) and, in some cases, with Lightroom processing in an attempt to save them (though most are not worth saving).

160118_white_river_0151January – Black Dog, White Snow, Bad Combination. This is Nahla on one of my winter outings last year. She was eating snow and I thought I’d get a shot. It is very hard to get a good shot of a black animal and keep detail in the fur. Add snow, and you have a contrast nightmare. To add to it, she moved as I was taking the shot and my shutter speed was too slow. Why? I don’t know, there was plenty of light. No hope of saving this by processing. Lesson learned – use a high shutter speed to freeze action (you’d think I’d know that by now!); control the contrast (I’m just not sure how in this case).


160221_skagit_0679-2February – Sunrise on Mount Baker with Sticks and Debris. I was up a Fir Island (see my last post) and saw some beautiful sunrise light on Mount Baker. And I liked the reflection in the pond. But to get the reflection, some foreground sticks got in the way. And what is all that stuff floating on the water? Plus, only later did I notice the walkway and lights on the far side of the pond.  Processing in Lightroom brings out the colors on the mountain, and cropping gets rid of the sticks and floating debris, but it also takes the reflection. The end result is okay, but not great,and it certainly isn’t the image I was attempting to shoot. Lesson learned – don’t get so excited by the light to forget to check your foreground.


March – Why Did I Shoot This? I didn’t get out much in March, and of the images I took, I didn’t see any real horrible ones. The best (or should I say the worst) I can offer is this image of a boat at Point Ruston near my home in Tacoma. Not a truly awful image, I’m just not sure why I took it. Lesson learned – take photos for a reason, not just because you have a camera in your hand.


160411_newmexico_2455-2April – Slot Canyon Blues. On a trip to New Mexico in April, Tanya and I visited the Kasha-Katuwe Tent Rocks National Monument. On a hike there, we went through a slot canyon. I enjoyed moon hanging in sky above the canyon walls and was inspired to take the above photograph. Perfectly captures the moment does it not? Not is the correct answer. Shot with a wide-angle lens, you can barely see the moon. And can you tell it is a slot canyon if I hadn’t told you? There are contrast problems as well, but processing fixed that. The processed version cannot save the lack of photographic vision. Lesson learned – some scenes do not translate well to photographic images.


160521_umtanum_2657-2May – Small Flowers, White Sky. Early May brought me a bad case of spring fever. So Tanya, Nahla and I drove to eastern Washington to take a short hike to Umtanum Creek Falls. The route passes through a small black-rock canyon. I liked the yellow flowers blooming on the dark rock wall and took the above shot, including the trees and sky above to give a sense of the scene to the image. Again, because of the large contrast between the rocks and the sky, the sky was totally blown out. And the composition is horrible; the flowers small and insignificant when they are supposedly the subject of the image. Heavy processing brought some detail to the sky, but doesn’t help the composition. Lesson learned – make the subject prominent in the image; minimize the area of sky in the frame when there is a large contrast difference between the sky and the rest of the shot.


160630_olympic_4710-2June – Rain Forest Contrast. In June we made a day trip to the Olympic coast, visiting the Hoh rain forest and Ruby Beach. The light conditions were not very good that day for photography, and while you still can make some good shots in bad light (see my post about that day for examples), the image above is not one of them. Here I liked the backlighting of the leaves, the look of the water underneath, and the moss hanging above. Unfortunately, the contrast between the sunlit water and grass and the shadowed moss was too much for the camera to handle, even with processing. Additionally, the composition is messy – there’s too much in the scene. Lesson learned – simplify compositions (which admittedly is hard to do in a forest); avoid extreme contrast.

160704_tacoma_5321July – Action Unfrozen. On the 4th of July last year, Tanya and I walked down to the annual festival along the Ruston Way waterfront. There we briefly watched bicyclists doing tricks. I grabbed a few shots. Unfortunately, I wasn’t paying attention to my camera settings. The scene was in full sun, and I had no reason why I couldn’t use a fast shutter speed to freeze the action. Shooting hand-held with a 300 mm lens of a moving subject with a shutter speed of only 1/60th of a second is a recipe for failure. And that is what I achieved. It may have worked if I had been panning with the bike motion, but that was not the case here. Lesson learned – pay attention to shutter speed with moving subjects.

160805_lyle_5392August – Blurs in the Sky, Blurs on the Ground. I wrote a post specifically about this photo shoot which I titled Rookie Mistakes. I was attempting to photography the setting crescent moon in the Columbia River Gorge and even taking about 30 images, almost totally failed due to not realizing how quickly celestial objects move when viewed with a telephoto lens and not fully taking into account how much camera shake strong winds cause.  This image was worse than most, since I thought the airplane was out of the frame. No amount of processing can save bad blurs, though a small amount can sometimes by saved by Photoshop work. Lesson learned – use faster shutter speeds when shooting the moon and stars with a telephoto lens; use faster shutter speeds in windy conditions.

160911_montreal_5557September – Closed Eye Failure. On our trip to Montreal, Tanya and I visited the Atwater Market which included this bakery. I liked the look of the line of glass cover domes leading to where the gal behind the counter was helping customers. I shot off a quick burst of 3 images to catch the interaction between customer and clerk. Unfortunately, I caught the clerk with her eyes shut. Lesson learned – when shooting people, take a lot of images.


161010_ingalls_7096-2October – Vignetting Ingalls Lake. Last year I purchased some Xune filter holder and lens adapters to use with my polarizer and neutral density filters. I knew there would cause more vignetting than when not using the system when using a wide-angle lens. Even knowing so, I wasn’t paying attention when I took the above wide-angle shot at Ingalls Lake with the polarizer. The vignetting was horrible. It can be solved by cropping, as is shown in the processed version. However, such cropping defeats the purpose of using the wide-angle lens. Lesson learned – watch for vignetting when using filters on a wide-angle lens; if you need the filter and still want the wide-angle view, try stitching two or three non-wide angle shots together.

161213_untitled_7669December – Blurry Shore. No bad shots in November because the camera barely left my bag. In December night, I was down on the shoreline in the Old Town district of Tacoma. I loved the reflection of the moon over the wavy shore. However, the wind was blowing very hard. Knowing the problems I had with wind down in the Gorge (see August above), I tried to keep my shutter speeds relatively fast, but even so I failed to get a non-blurry shot. In hindsight, I should have done more to weigh the tripod down and block the wind. Lesson learned – relearn August’s lesson and take precautions against strong winds.

Summary  –  We can all learn from our mistakes. Above are several of mine. In reviewing these, there are a couple of running themes – problems from contrast and problems with blurring. Those, and in fact none of the issues I’ve presented here, are new for me. But hopefully, by studying my bad shots, I will make such mistakes less and less.

New Transform in Lightroom








Adobe added a new Transform panel in Lightroom CC in June, and since I typically don’t check what is new in each Lightroom upgrade, I didn’t see this new panel until last month. When I did find it, I thought it was amazing. So much so, that from now on, I’ll be checking each upgrade to see what other new features might be available to improve my workflows.

The old transform was under the Lens Correction panel in the Develop Module under the Manual tab, where there were sliders for you to manually adjust lens, vertical, and horizontal distortions; rotation, scale, and aspect ratio. I made wide use of the vertical and horizontal sliders, but not so much the others. I found it was easier to correct rotations or change the aspect ratio with the crop tool and I usually don’t change the scale of an image except upon export. And while these transform tools where very helpful, sometimes I couldn’t get the results I wanted.

With release 2015.6 of Lightroom, Adobe removed the manual transform sliders from the Lens Correction panel and placed them in a new Transform panel (located directly underneath the Lens Correction panel, see the first screenshot below). The lens distortion slider is gone, and two new sliders, for X and Y offsets, are added. But the best new feature is the addition of automatic or guided distortion corrections. There are six options: off, auto, guided, level, vertical, and full. The pop-up help in Lightroom for each of these options states:

  • Auto: “enables balanced level, aspect ratio, and perspective corrections”
  • Guided: “draw two or more guides to customize perspective corrections”
  • Level: “enable level corrections only”
  • Vertical: “enable level and vertical perspective corrections only”
  • Full: “enable full level, horizontal, and vertical corrections”

There is also a guide tool in the upper left-hand corner with a guide tool. This tool essentially works identically to pressing the Guide button. In both cases, a guide tool becomes active which allows you to place guides on the image to show Lightroom what should be level and vertical. You are allowed to add up to four guides.

I’ve illustrated the use of this new features with an image I took in Sainte-Chapelle in Paris last year. The space is small and crowded, tripods are not allowed, and a wide-angle lens is needed. These conditions make it quite hard to a decent level and perspectively correct shot. The original image, shot with my 28-300mm zoom lens set at 65mm (at 1/20 second, f5.6, ISO 6,400),  is shown here below after all Lightroom corrections except those under the Transform panel.

The original shot, not level and plenty of vertical distortion

The original shot, not level and plenty of vertical distortion

The next image, below, is a screenshot showing the Transform panel open in the Lightroom Develop module. No transform corrections have been selected – the Off button is active. Please note, that when using the Transform corrections, it is best to have the lens profile corrections already active in the Lens Corrections panel.

The image in Lightroom Develop module with the Transform panel open.

The image in Lightroom Develop module with the Transform panel open.

The images below are the results of selecting the Auto, Level, and Vertical buttons. In this case, the results from the Full button is identical to the Vertical button.

Image after selecting the Auto button

Image after selecting the Auto button – improved, the image is almost (but not quite) level, and the vertical perspective is improve but far from perfect

Image after selecting the Level button

Image after selecting the Level button – nice job on leveling, vertical perspective unchanged from original

Image after selecting the Vertical button

Image after selecting the Vertical  or Full buttons (without cropping) – better than the Auto button, both horizontal and vertical perspectives well corrected, though not perfectly

Below I show the steps in using the Guided correction either by guide tool or selecting the Guided button.

Guide tool in use, picking two spots to define, in this case, a horizontally level line. The tool opens up a zoom window to allow the exact placement of the two spots.

Guide tool in use, picking two spots to define, in this case, a horizontally level line along the base of the altar. The tool opens up a zoom window to allow the exact placement of the two spots.

Here I've placed a second guide, this one defining a vertical line. With the placement of the second guide, the image adjusts. If it is still not satisfactory, a third and fourth guides can be added.

Here I’ve placed a second guide, this one defining a vertical line along the left-hand stained glass window. With the placement of the second guide, the image adjusts. If it is still not satisfactory, a third and fourth guides can be added.

Here a third guide has been added, creating a further correction.

Here a third guide (another vertical one, this one along the right-hand window) has been added, creating a further correction.

And now, a fourth guide, in this case, another horizontal one.

And now, a fourth guide, in this case, another horizontal one at the top of the altar. Now the image shows a better correction than any of the automated buttons. Results, of course, depend greatly on the selection and placement of the guides.

You have the option of checking the Constrain Crop checkbox at the bottom of the panel. This crops off the white space created by the corrections, but often it does not do a very good job as was the case here.

You have the option of checking the Constrain Crop checkbox at the bottom of the panel (this works with any of the buttons, not just the Guided one). This crops off the white space created by the corrections, but often it does not do a very good job as was the case here.

Instead you can use the crop tool, shown here, and adjust the cropping for a better composition. Here the crop tool was locked to the original aspect ratio.

Instead you can use the crop tool, shown here, and adjust the cropping for a better composition. Here the crop tool was locked to the original aspect ratio.

In this case, I wanted to show more of the stained glass windows, so I unlocked the aspect ratio and extended the crop upwards to make a vertical panorama. This crop resulted in my finished and featured image at the top of the post.

In this case, I wanted to show more of the stained glass windows, so I unlocked the aspect ratio and extended the crop upwards to make a vertical panorama. This crop resulted in my finished and featured image at the top of the post.




Worst of 2015 and Lessons Learned

If you have followed my blog for over a year, you know that I have started a tradition of, rather than posting a best of the year, posting the worst of the year. Well, they probably aren’t really the worst of the year, those get deleted immediately, but rather are generally bad photos that weren’t total mistakes (such as accidentally tripping the shutter). These are photos I actually had some rationale to take, though when looking back, sometimes I’m not totally sure what that rationale was. You can find great looking photos all over the web (and perhaps even on my blog), but you can sometimes learn more from the poor images. That is why I present this bad images; they provide an education to me, and you perhaps. I’m a true believer in learning from one’s mistakes, though as you will see if you go back to the 2014 and 2013 posts, perhaps I need to keep re-learning some of the same issues over and over. So without further adieu, here are some of my worst of the year images from 2015 – both the images out of camera (with default Lightroom processing) and, in some cases, with Lightroom processing in an attempt to save them (though most are not worth saving).

What's the subject? I don't know! (straight out of camear)

What’s the subject? I don’t know! (straight out of camera)

Same image with Lightroom processing

Same image with Lightroom processing

In January 2015, Tanya and I went snowshoeing at Blewett Pass in the Washington Cascades. One image from that trip made the Robinson Noble calendar this year. The above image did not. In fact, looking back on this image, I’m at a loss as to why I took it. And it is underexposed. There is apparently no subject. Perhaps I was just happy to be out under semi-blue skies (as much of the trip to Blewett Pass was through rain). But if that was my motivation, it failed in the image. Lesson learned – most photos need a subject or at least something of interest; many feelings are hard to translate into an image, and I need to work harder (rather than just snapping away) if I want to show those feelings in my images.

Washington Monument bulls eyed with tracks in the snow (no processing)

Washington Monument bulls eyed with tracks in the snow (no processing)

Cropped and processed in Lightroom.

Cropped and processed in Lightroom.

February took me to Washington, DC. I hadn’t been there and many years and was excited to photograph on the mall. I took this shot of Washington Monument with the snow-covered reflecting pond. I’m not sure why I tried this composition, bulls eyeing the monument and including tracks in the snow. Not to mention being underexposed (starting to seem like a theme).  It was partly saved in Lightroom, but only with a significant crop. Lessons – 1) putting the subject dead center in the frame rarely works, and 2) look for distracting elements in the frame.

Look a rainbow! (no processing)

Look a rainbow! (no processing)

Processed in Lightroom.

Processed in Lightroom.

I have not horrible shots from March, largely because I barely took the camera out. But April brought this “gem.” I was photographing at the waterfront in Gig Harbor when a rainbow appeared. I had to get a good foreground for it, but this was not it. At least it wasn’t underexposed! After the excitement of seeing the rainbow wore off, I ended up getting a few better shots than this one. Lesson – when you see something exciting, don’t forget good composition.

Fussy faraway fish (no processing)

Fussy faraway fish (no processing)

White skies in Dayton (no processing)

White skies in Dayton (no processing)

Since there is no March imge, I’ll give you two for May. The first are koi in a pond at the Chinese garden in Seattle. Fuzzy fish, small fish because I didn’t zoom in enough. Sorry, no processed version because there is no saving an out of focus image (I tried hand holding at 1/20 second, and it didn’t work). The second image, the historic train station in Dayton, Washington. But talk about a blown out sky! Again, no way to save that with processing. Lessons – 1) hand holding at slow shutter speeds usually doesn’t work – use a tripod or up the ISO, 2) when the sky is too bright compared to the subject, minimize it in the frame.

Look it's Mount Rainier! Where? That tiny white spot! (no processing).

Look it’s Mount Rainier! Where? That tiny white spot! (no processing).

With Lightroom processing

With Lightroom processing

In June I went to Discovery Park in Seattle to take some images for my up coming book. This shot didn’t make it in the book. I was trying to show Mount Rainier along with driftwood on the beach. I was close to the driftwood and used a wide-angle lens. This made Mount Rainer look like a little white spot. Processing helped a little, adding a bit of definition to the mountain, but the image still belongs in the reject pile. Lesson – wide-angle perspectives shrink the background;  be sure to check the size of objects in the background if they are important to the image.

Another small white spot? No, that's a bald eagle (no processing)

Another small white spot? No, that’s a bald eagle (no processing)

Cropping helps some (processed version)

Cropping helps some (processed version)

In July I went backpacking on the beach in Olympic National Park. There were a lot of bald eagles around, and I tried (and failed) to get a good shot of one. This was shot with my zoom maxed out at 300 mm. Still too far away. Even cropping in Lightroom doesn’t help much. Lesson – when shooting birds, you either need to get close or get some big glass.

Wires, wires (no processing).

Wires, wires (no processing).

Looks better processed, but the wires are still there.

Looks better processed, but the wires are still there.

In August, I took some images at the Frye Art Museum in Seattle, again for my upcoming book. I like the glow of the setting sun on part of the building and attempted to capture that with this shot, partially blowing out the sky in the process. Was I really blind to those wires? At least I got most, but not all, of the street sign out of the shot. I was able to save the sky some with processing and remove the sign remnant with cropping, but only a lengthy session with the cloning brush in Photoshop could remove the wires. Not worth it. Lesson – sometimes there are too many distracting elements to make it worthwhile.

Bad exposure and out of focus (no processing)

Bad exposure and out of focus (no processing)

September brought me to Alaska to do a little salmon fishing, where I took this shot. The only thing worst than the poor exposure is the bad focus – nothing is in focus in this shot. Seems my camera was set to a stop under exposure from a earlier image and I didn’t reset it. There is no processed version because Lightroom still doesn’t have an unsuck brush available. Lesson – 1) pay attention to your camera settings; if you make a change from your normal settings, reset it immediately; 2) pay attention to focus, it really is necessary!

Leaves in a creek, so what (no processing).

Leaves in a creek, so what (no processing).

In October I was at Silver Falls State Park. I liked the leaves in the creeks, so made this shot. Do the leaves look like the subject to you? They sure don’t to me. After this failure, I took a few more compositions at the same location that were slightly better, but honestly, the whole series of shots will never be shown except here. I haven’t include a processed version because just like Lightroom doesn’t have an unsuck brush, it also doesn’t have an add-a-subject slider.

Misty morning (no processing)

Misty morning (no processing)

Processed in Lightroom does partially save the image.

Processed in Lightroom does partially save the image.

In November I took some images of the sun rising over Mount Rainier from the Fox Island Bridge near Gig Harbor. Beside shooting the mountain, I liked the mist on the water and took this shot. It seems that underexposure was one of my major problems in 2015. Processing in Lightroom did save the shot, but the digital noise is worse than it should be. Lesson – exposure is actually important!

Here's to a great year! (no processing)

Here’s to a great year! (no processing)

Processed in Lightroom.

Processed in Lightroom.

My son, Brooks, and mother-in-law, Maxine joined Tanya and I on our trip to Europe last month. We started with a quick stop in Chicago, where this image was shot. Brooks and Maxine are toasting our the start of our vacation, and I captured the moment. Except for that underexposure thing again; oh, and the glass of beer in Brooks’ face; and oh, only Maxine is in focus. Processing helped the exposure a bit, but there is serious digital noise. Luckily, I realized my error and took a second shot that is much better. Lesson – really watch your exposure with backlit situations, and pay attention to where the beer glass is!

That’s it, a set of bad photos. Let’s hope that some of these lesson stick with me in 2016. I hope this new year brings you many wonderful photos (and that Adobe adds that unsuck brush to Lightroom).


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