Julianne Kost shows the new Profile feature in Lightroom and Camera Raw.

Find more from Julianne Kost here.

Matt Koslowski tells you why he thinks Profile is one of the biggest things in years.

Find more from Matt Koslowski here.

Learn more in my digital photography and printing workshops.

Matt Koslowski details the new features in Lightroom Classic CC 2018.

Find more from Matt Koslowski here.

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Lightroom and Photoshop offer an impressive array of tools for adjusting an image’s contrast. At some point luminosity contrast adjustment tips over to affecting image detail (contour and texture) more than overall lightness. Deciding exactly how you want to affect lightness, contour, and texture is the key to deciding which tool to use and how to use it.

The following progression moves from the smoothest to edgiest tools – Curves, Clarity, Dehaze, High Pass, and Sharpening. The differences between these tools can be found in the way they handle frequencies of detail; low or smooth, medium or broad lines and moderate texture, and high fine lines and grain.

01_Curves

Curves

Curves creates the smoothest effects. It simply affects light and dark values. With it, you can fine tune the relationships between different values with unparalleled precision. Curves ignores texture and contours. If either is affected it’s simply because those areas are lighter or darker, not because they have been targeted. Along with contrast, Curves also boosts saturation somewhat. (If Curves is applied in Photoshop, this saturation shift can be removed by using a blend mode of Luminosity.)
02_Clarity

Clarity

Clarity offers the second smoothest effects. It pays significant attention to contours. The contrast it adds to contours is smoothed or broadly feathered. Think of it as a local vignetting, not for the frame, but for areas within contours. To make the effect more realistic, it darkens the dark side of contours more than it lightens the light side of contours edges, greatly reducing visible bright halos. Clarity makes images look clearer for two reasons; one, because the overall contrast appears to remove haze; and two, because the edge contrast makes images appear better focused or sharper. Clarity, particularly strong applications of it, will accentuate texture affecting medium frequency detail even more than high-frequency detail. Strong applications of Clarity will boost saturation significantly, which can be removed with the Saturation slider. Clarity does not exist in the Photoshop Image > Adjustments menu but can be applied in Photoshop with the Camera Raw filter.

03_Dehaze

Dehaze

Dehaze offers the third smoothest effects. It creates effects that are similar to Clarity, only stronger. Dehaze darkens shadows and rather than brightening the highlights it simply pulls out more separation by darkening the lower values in these areas. Strong applications of Dehaze may even reveal detail you can’t see with the naked eye. Dehaze affects larger areas of contrast, sometimes losing the ability to distinguish between smaller areas. While Clarity boosts saturation somewhat, Dehaze boosts it more and often creates color non-uniform shifts. (There is a cure for this, which I cover in a separate article.) Dehaze does not exist in the Photoshop Image > Adjustments menu but can be applied in Photoshop with the Camera Raw filter.

04_HighPass_High

High Pass High

05_HighPass_Low

High Pass Low

High Pass filtration drives contrast into edges. It produces significantly different effects at low and high settings. At low settings it affects contours most, only slightly affecting texture and having little or no effect on overall contrast. At high settings it produces localized vignetting similar to Clarity but with less feathering, making it an excellent tool for emphasizing planar contrast. Be careful, it does not have the halo suppression built into Clarity. Only high settings create saturation shifts, which are localized not uniform. Remove this by desaturating the layer you apply the filter to. The High Pass filter is only available in Photoshop and is usually applied on a duplicate layer set to a blend mode of Overlay.

Texture_4235

Texture

The Texture slider produces effects that lie between the Clarity and Sharpness sliders.

When compared to Clarity, the Texture slider does not increase saturation and it produces an effect significantly more targeted to edges. With little or no localized vignetting, it has less effect on overall contrast (Think of it as a micro-contrast.) and will not produce planar or volumetric accentuation. While it does produce more of an overall contrast effect than Sharpness, Texture is much more suited to detail enhancement. Think of it as a broader softer Sharpness rather than a finer edgier Clarity.

When compared to the Sharpness slider, the edge it produces is not as pronounced (It’s more feathered.) nor does it increase artifacts or noise as much. Texture increases or decreases apparent sharpness in mid-frequency detail. Its effects on smooth (low frequency) and fine (high frequency) detail are minimal. Think of it as producing an entirely different mask that removes effects from low and high-frequency detail rather than the one produced by Sharpening’s Masking slider that removes effects first from smooth areas and then gradually converges on edges at higher settings.

06_Detail

Sharpening

The Detail Panel’s Sharpening sliders aggressively target edges. It offers four sliders – Amount, Radius, Detail, and Masking. Amount determines the increase in contrast. Radius accentuates contours in thinner (lower setting) or thicker (high setting) areas. Detail targets the effects of the previous two sliders into lower (less texture) or higher (more texture) frequencies of detail. Masking creates a mask that removes the effects of the other sliders from smooth areas at low settings and from all areas but contours at its highest settings. These sliders produce no overall contrast effects and little to no saturation shifts. (These detail sliders don’t exist in the Photoshop Image > Adjustments menu. Photoshop’s filter Unsharp Mask offers identical Amount and Radius sliders but it lacks the Detail and Masking sliders. Instead, it offers a Threshold slider that allows you to remove the effect from adjacent areas that have less contrast than the Threshold you set.) These tools are the ultimate tools for accentuating texture and contour.

Experiment. Develop your eye for all of the possibilities these tools open up for you. You’ll be amazed by what they can do. And when you master them, your viewers will be amazed at how good your images look.

Read more on Color Adjustment here.

Learn more in my digital printing and digital photography workshops.

View test files with maximum applications of these tools below.

Read more

Dehaze_Color_Off

Without Dehaze

Dehaze_Color_Artifacts

Dehaze may create color artifacts

Dehaze_Color_Final

Color artifacts removed

Color without Dehaze blended with luminosity with Dehaze

 

Dehaze_Color_Layers

The top layer is set to a blend mode of Color

When you’re using Lightroom or Camera Raw, you’ll quickly find the Dehaze slider can produce marvelous contrast effects. Dehaze can dramatically exceed the contrast that can be produced with either Curves or Clarity. Sometimes it will reveal detail you couldn’t see with your eyes!

Often, there’s a price to pay for these great effects – color shifts. Neutral areas may turn magenta. Shadows may pick up strong blue or green casts. To make matters worse, these unwanted artifacts are rarely uniform, which makes them harder to fix.

If you’re lucky you can compensate by reducing Saturation after using Dehaze. When you do this, it’s likely that you’ll end up choosing the least objectionable version or making a compromise you’d prefer not to. Frequently, to avoid these side effects, you’ll be tempted to not to push Dehaze as far as you’d like to.

There is a cure that will help you go as far as you’d like, without producing color shifts. Render your image twice. First, render it with as much Dehaze as you’d like. Second, render it without Dehaze.

Then place the version without Dehaze in a layer on top of the version with Dehaze. Change the Blend Mode of the top layer to Color. This will give you a combination of the color of the top layer (without Dehaze’s color artifacts) and the luminosity of the bottom layer (with Dehaze’s contrast).

How do you make two layers from one Raw file?

If you’re using Lightroom, make a virtual copy and then double click on the Dehaze slider. Highlight the original file and the virtual copy and select Photo > Edit In > Open as Layers in Photoshop. Now in Photoshop, make sure to change the top layer’s blend mode from Normal to Color.

If you’re using Camera Raw, open your Raw file as a smart object, then select New Smart Object via Copy in the Layer menu, and finally double click on the top layer to return the Dehaze slider to 0. Remember, change the top layer’s blend mode from Normal to Color.

The technique of using the color of one layer to overlay another layer can be used for many applications. Here, it makes Dehaze even more useful.

Read more on Color Adjustment here.

Learn more in my digital printing and digital photography workshops.


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Adobe’s Julianne Kost and Photoshop Cafe’s Colin Smith demonstrate Adobe Lightroom Classic’s new Range Masking. (Remember, what works in Lightroom also works in Camera Raw.) Range Masking, by luminosity or color, is a significant step forward in selective or regional image adjustment during Raw processing.

Learn more in my digital photography and digital printing workshops.

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2_LRACRnoise

Lightroom’s Detail panel

Reducing noise in Adobe Camera Raw and Lightroom (the controls and results are identical) is easy.

The Detail panel provides tools to reduce two kinds of noise – Luminance (light and dark) and Color. Results can be targeted with the Detail slider into smoother (low setting) or more textured (high setting) areas. The effects for luminance noise reduction can be further modified by adjusting the Contrast slider; a higher setting affects only high contrast noise, while a lower setting affects even closely matched values. And finally, the effects for color noise an be further modified with the Smoothness slider, a higher setting creates a more aggressive effect.

Zoom into an image at 100% magnification and move the sliders until noise is reduced, but image quality isn’t compromised. Use restraint. In a majority of situations, it’s better to preserve a little noise than to blur the image substantially.

All noise reduction blurs images. Sharpening after noise reduction during RAW conversion is recommended. Knowing that you’ll sharpen an image after noise reduction, you may reduce noise slightly more aggressively initially.

3_noNRorsharp

no noise reduction

5_appropriateNR

appropriate noise reduction

7_excessluminanceNR

excessive noise reduction

There are limits to how far you’ll want to go. Noise can be so aggressively reduced that surfaces within images become textureless and begin to seem synthetically rendered with software rather than optically captured photographically. This effect may become more pronounced if contours are strongly exaggerated during sharpening. While sharpening, take care not to accentuate noise further. Develop a sensitivity to texture and contour, and use your best judgment. You know what things look like. Make your images look convincing to you, and you’ll quickly convince others.

RAW converter tools have limits. RAW converter tools do a good job with moderate amounts of color noise. Even high settings don’t tend to compromise image quality; sharpness, saturation and hue variety are all preserved. But sometimes they don’t go far enough. For aggressive noise reduction, especially for larger noise produced by Bayer pattern demosaicing, turn to Photoshop and possibly third-party noise-reduction software.

RAW converter tools do a reasonable job with luminance noise, but aggressive applications may compromise sharpness (some, but not all of this can be compensated for with RAW converter sharpening tools), and at times they don’t go far enough. When you encounter situations like this, turn to Photoshop and third-party noise-reduction software.

Most images can benefit from a little noise reduction and sharpening during RAW conversion. For many situations, this is all the noise reduction you’ll need. Many exposures don’t require substantial post-processing. However, some exposures require more power and finesse than these tools can deliver. When you encounter these, move to more sophisticated tools found in Photoshop and third-party plug-ins. But always start here.

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