On 4/12/2014 7:10 AM, Tina Manley wrote:
> Absolutely amazing. I've printed out your directions and will try to
> follow them using your example. I really need to learn more about layers.
As I just posted in reply to Chuck, they actually make many tasks easier and
quicker for better results.
Here, though, it's not just layers, but layer masks, that do the magic. You
have two wildly different areas in the
image, that require very different processing. A pretty common problem of
foreground subject in shade with bright
background. You want to make the foreground subjects the focus of the image.
With layer masks, you can work the dark area and bright area completely
separately, without needing to compromise one so
it doesn't affect the other.
As layers build up, it's not unusual to realize that one is too strong. No need
to go back, just use the slider to
adjust layer opacity. Effect right in part of the mask, but not in another?
Either split into two layers with different
masks, or paint over the mask with black, flow less than 100%, often a lot
less, to nuance the effect.
A number of editors allow painting effects in. I gather LR even tries to limit
the effects at obvious boundaries? Nik's
'control points' are another approach. BUT, BUT, in an image like this, you
need hard boundaries, with big differences
across them, and those other approaches are actually harder, and frustrating.
When Viveza first came out, with this control point way of working, I tried it,
and hated it. Even in their site
examples, you could see effects bleeding out of the area being worked on. I
recall one where face/head were adjusted -
and the effects bled off onto a plain background that should have been all one
color, but no longer was.
I did this example. Now if this were your loved one, you might not want her
face so sharp, but just go with the intent.
<http://www.moosemystic.net/Gallery/tech/Process/Viveza/Viv_386.htm>
Notice how the WB correction in the face 'hot spots'. It's either that, or have
it bleed beyond the face. (Or, perhaps,
use lots and lots of control points? I'm) I did the shirt WB intentionally
simply, to illustrate how effects decline
slowly away from control points. There's just no way to just adjust the shirt
color. Nik seems pretty successful with
their various products that use this approach. Some improvement of the
algorithms, I suppose. Along with people
satisfied with sloppy?
Real layers with real masks are often both easiest and best, even if they sound
tricky at first. Do I fall prey to the
hammer-nail problem, using layers and masks where there is another way to do
it? Almost without doubt. But they are
amazingly powerful tools.
Masked Moose
--
What if the Hokey Pokey *IS* what it's all about?
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