| Author | Message | ||
     David J. Bookbinder Member Username: Dbookbinder Post Number: 309 Registered: 09-2002 |
The Luminous Landscape site just posted an interesting article demonstrating how to use curves to fine-tune changes made to a selection. I'm not quite sure how to translate this to PWP terms, and it seems like a great technique for simplifying transformations to one part of an image without having to be precise about the mask. Here's the link, and I'd appreciate those of you more skilled than I am seeing how it might work in PWP. http://www.luminous-landscape.com/tutorials/Cramer_Selections.shtml | ||
| Robert W. Coutant Member Username: Couman Post Number: 182 Registered: 01-2005 |
No problem David. For the examples given, you can simply use the similar pixel brush to select the desired object(s). Remember, PWP can generate masks based on tone, color, area, edge detection, area gradients, etc. Furthermore, these can be combined in additive, subtractive, overlap additive, and overlap invert modes -- the possibilities are endless. If, for example, you wanted to apply a selective correction to an object, with stronger correction at the bottom of the object that towards the top, you can combine (in overlap mode) a mask of the object with a vertical gradient mask. [I'm a fan of using subtle gradients in S, V, and sharpness to imply depth.] Note that the LL tutorial relies on use of the feather mode for the lasso tool to avoid hard edges -- in PWP, use feather and blur to achieve the same results. I hope this answers your question. I'm sure others will chime in with their interpretation. It might be helpful if you could post an image to illustrate your specific needs. Bob C. | ||
| den Member Username: Den Post Number: 303 Registered: 03-2006 |
This is close to something suggested here:... see Step4 of Workflow1: http://www.ncplus.net/~birchbay/3tone3/shdw-midtns.htm . If you are doing this remember that PS's default color space model is RGB, so the tutorial's suggested curves will provide more vivid results then the same curve changes using PWP's HSV,V or HSL,L curves unless accompanied with saturation changes as well.... Also when using the BrightnessCurve transform in the RGB color space [model], you will have to set your curve control points in either the HSV or HSL color spaces [models] first and then switch the transform to the RGB color space [model] to make the curve changes... as the RGB color space [model] has no gray tones that PWP will properly recognize.... also sometimes a BrokenLine curve type will produce more contrast than a Smooth curve and can easily provide locking control points to maintain existing preferred brightness... Other non-precise image area PWP Dodge/Burn techniques, I favor: 1. http://www.ncplus.net/~birchbay/3Tone&Beyond/beyond01/lens.htm [scroll down to Step6 of the Workflow] 2. http://www.ncplus.net/~birchbay/tutorials/contrast_mask/index.htm [scroll down to Step5 of the Workflow] | ||
| den Member Username: Den Post Number: 304 Registered: 03-2006 |
Clarification: It is the RGB BrightnessCurve PROBE control points that need FIRST to be set in either the HSV or HSL color space models. A 'shift-mouse click' control point can be made with the transform in the RGB color space model.... Here is a quick, tutorial Example 2 PWP solution you might try.... 1. Download the Ex2 starting image and open or click on it in PWP... 2. Open the Mask Tool - Paint brush with radius=140, transp=0, softness=75 and paint the tree... 3. Change the transp=38 and paint the ground under the tree... 4. Change the transp=63 and paint the background... 5. 'lower-left' Apply a Blur=15... 6. leaving the Mask Tool 'active', click on the starting image and open the BrightnessCurve in the RGB color space model and form a Smooth curve = [0,0], [10,10], [30,55], [70,100], [100,100]... The histogram was set to 'High...' to select an alternate 'white point'. This is a 'brightening contrast S' curve with a white point change for full dynamic range. The mask allows the the brightening curve to be fully applied to the tree, less so to the area under the tree, and least to the backgound... allowing the tree to stand out the most....  Note that the [0,0] and [10,10] control points essentially keep the starting image's original 0 to 10% [or in PS terms 0 to 25.5 tones] gray tones | ||
| David J. Bookbinder Member Username: Dbookbinder Post Number: 310 Registered: 09-2002 |
Thanks, Den. I think I get it. I'll try the LL technique in PS and yours in PWP on the sample images, and get back to this thread if I have any questions/observations. - David | ||
| den Member Username: Den Post Number: 305 Registered: 03-2006 |
David and others....... For my preferences there is still hidden potential for this image as the suggested alternate 'white point' was conservatively chosen... so here is a Part2 continuation to the steps previously posted that adds a bit more 'drama'...... 7. Click OK of the Mask Tool creating, Mask1. 8. Click on the resulting Step6 image and open the Mask Tool - Combine Masks, and 'lower-left' Apply - Add, Mask1 to the resulting Step6 image 9. Change the Mask Tool mode to Brightness Curve Probe and 'shift-mouse click' with the Probe on the resulting Step6 image: (a) a tree branch bright spot and (b) a lesser tree branch bright spot. 10. Move the upper bright spot control point so that its 'vertical' coordinate = 90, and move the [100,100] control point left to the bright spot control point's 'horizontal' coordinate + 20. 11. Move the lesser tree branch bright spot control point so that its 'vertical' coordinate = 10, and move the [0,0] control point right to the bright spot control point's horizontal' coordinate - 20. 12. Change the Mask Tool mode to Overlap and 'lower left' Apply.  13. Click on the resulting Step6 image and open the Filter transform where the Input = the resulting Step6 image; Mask = the 'active Step12 mask'; white = 100; black = 0; Filter = white; Method = Additive; and EC = 1.10. Leave 'as is' or decrease the white mask amount to a preference, checking 1:1 Preview for clipping/posterizing...  The technique described/illustrated above seems to have a wide application for bringing out hidden 'dramatic' potential in most images, i.e. : 1. select an image area with a soft-sided, large radius Mask Tool - Paint brush in Add mode 2. with the Mask Tool - Brightness Curve Probe, select two control points from the painted image area; increase the contrast between the selected control points; and 'lower-left' Apply - Overlap. 3. leaving the mask 'active', open the Filter transform and Additive Solid White filter to a preference ExposureCompensation and white mask Amount being careful not to clip or posterize. While the Filter transform with its Additive ExposureCompensation feature can provide aggressive 'dramatic' changes... one could also use in its place, the BrightnessCurve or ColorCurves transform to apply more conservative preference brightness/contrast curves while monitoring Preview so as not to clip or posterize. |
