I could see no difference between these files and the unedited RAWs. On several RAW files I tried variations of -100 on fine contrast and +100 on all three of the shadow contrast, mid-tone contrast, and highlight contrast and vice versa. UPDATE: I have run some tests and yes, you guys are right. (edit: don’t forget to export them as jpeg for the full rendering of the contrast applies for side by side comaprison.) It’s fun getting different image’s out one rawfile. Use the history and on off switches to do comparison of your work. )Īnd because it’s non destructive it doesn’t matter if you layer all tooleffects as a stack. (this sounds dumb but it sharpens your skills and prediction of which tool helps you when. Using the HSL color control and TonecurveĪnd finally when you have all tested a combination of all. Using local controls in all matter controlpoints, brushes, etc. I don’t have a example found fast but i suggest you take a image make a few Virtual Copy’s of it when the basic editing is done and start on each with an other aproach. It’s subtle but noticeable and global over your image in tonesections highlight, midtone and shadow.Ĭombined with local brushes and there contrastcontrols you can mold the landscape’s in your hands. By balancing tone and contrast combined with clearview, microcontrast, fine contrast you can meander the contrast in your image, placing more where you want and less where you need it. What you basicly can control is the detailing in a tone section with the three sliders in advantaged contrast. I don’t do portrait as in premeditated, but if it happens i always find the “skin mode” a good start. I do hardly any portrait photography but I find the fine detail useful for adding texture in landscapes. Lifting shadows which are unrecoverable but you need some from the ground, black, you can use shadows constrast to lose the detailing aka shadownoise in those lifted parts by apply negative contrast. This behaviour is also in shadows and midtone. So best way is if selective tone is -40 before you like it set both on -20 and start from there to fine max detail by pushing selective to -25 and recover detail by pushing highlight contrast back to -15. So finecontrast is a soft kind of contrast to saturate and ease skin kind colors.ġ if you lower in selective tone highlights to much the white gets mussy grey.īy using the contrast highlight slider and also lower this, the negative contrast is lowering detail in the highlight white which causes to disapear that grey mussy smutching. Advanced settings (DxO FilmPack 5 ELITE Edition installed): The Advanced Settings section offers three additional sliders for Fine contrast that act in a selective manner on the following three light ranges:Įach slider range goes from –100 to +100, with the default value set at 0.Ī couple of options: If you still want confirmation from DxO, it’s possible that the right staff member will see this topic and respond - or, you can submit a support request at .įine contrast is less agresive then microcontrast.Ĭlearview and microcontrast is in skin and faces showing all dimple’s, cracks ,facial hair much more so those you don’t want to use in portret’s.Fine contrast (DxO FilmPack 5 ELITE Edition installed): The Fine contrast slider brings out or softens medium-sized details, and is gentler in its effects than the Microcontrast, slider, making it appropriate to use with portraits.Although it isn’t explicit beyond all doubt, I feel very confident that it implies exactly what you’ve been supposing - that the Fine Contrast slider and the three selective tone fine contrast sliders all apply adjustments in equal amounts. Actually, I think the PhotoLab 4 user guide has a pretty straightforward explanation.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |