Editing moments with darktable

Bonsoir Boris, J’ai regardé avec attention cette vidéo. Je t’ai envoyé un message sur ta chaine youtube auquel tu m’a répondu (Alain).
J’ai appliqué les réglages sur une photo, mais n’arrive pas à traiter le ciel correctement. En rajoutant du contraste, augmentant la tonalité pour faire ressortir les nuages, du grain apparaît. La photo est prise à 100 iso, je ne comprends pas pourquoi ce grain apparaît dans le ciel. Je suis sans solution.
J’aimerai te soumettre mon raw + .xmp. pour que tu me dise peut-être où est mon problème. Est tu d’accord ?

Bonjour, @AlainC . Bienvenue au Forum !
Malheureusement, je ne parle pas français et j’utilise un service de traduction sur Internet :

J’espère que vous comprendrez ma réponse.

Si vous changez beaucoup les couleurs, il peut arriver que vous ayez du bruit, même si vous avez pris des photos avec des valeurs ISO faibles. Dans ce cas, je recommande d’utiliser le module Denoise (profilé) pour éliminer le bruit.

Si vous voulez proposer votre fichier brut, ce forum a une catégorie pour cela :


Vous pouvez y créer un nouveau poste et proposer votre fichier brut et xfc à l’édition. Vous pouvez également y décrire votre problème. Mais en anglais. Il est très important que vous choisissiez une licence libre pour votre fichier, par exemple l’une d’entre elles :


Ensuite, les personnes du forum vous aideront et proposeront également leurs propres modifications. Je serai certainement heureux de consulter votre fichier raw et xcf.

Thank you for your answer. I didn’t realize I copied the wrong column from the translator.
I tried the Denoise module, but the clouds were too smooth. I’ll post it on the forum tomorrow. Concerning the license, you necessarily need one?

Good. I’ll take a look at it.

Yes, this is important for legal security for your copyrights and that the people who want to edit the raw file have permission to do so.

The CC address I gave is just an example. You can choose one for yourself at Creative Commons. If you can’t make up your mind, the best thing to do is look at some examples in the Play Raw category and decide.

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New episode: Color balance module demonstration :rainbow::


Your videos are always the best!

Color Balance is one of the modules i can’t live without.

I would be really curious to see your edit on the image of mine of you want

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A terrific video, Boris. Really helped me with the color balance module. I have two questions hoping you or others could help with:

First, why does the saturation in slope have much more adjustment room, less room in power, and then very little in offset - you barely adjust saturation to have a big impact. Is there a reference somewhere that explains this?

Second question is about the color pickers. If you use the eyedropper in power, hue and pick the entire image, is it picking the average hue of the mid-tones? In your 4th edit, you pick a small sample on the tree - I don’t understand what the resulting adjustment is doing.

I looked in the manual on the eyedroppers but it wasn’t very clear to me what they do.


This one really freaked me out (positively)
Sensational. I am very happy, recently I somewhat learned color balance module, but what you are dancing with it, is amazing.

Thanks for sharing

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Thank you very much Boris. Thoroughly enjoyed the video and learned a lot. It’s a must module in my workflow.

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So with a bit more digging, I think I now can answer my own question. The photo was too blue, so the picker was used to sample a neutral portion of the photo which then calculated the opposite hue value (180 degree value on the color wheel) and applied that color which, in the case of edit #4, reduces the blue cast not by reducing blue, but by adding more of the opposite color of yellow.

Do I have that right?

I think it’s the math behind the functions. I’m a little out of my depth here because I’m not an expert. Perhaps we should ask @aurelienpierre , who redesigned the module.

Yes :+1:
The nice thing about it is that you can do white balance in this way, which you can’t do with the white balance module, especially since you can influence the highlights, midtones and shadows separately to a certain degree.


I forgot to mention that with all three functions you can also go higher than + or - 50% by clicking with the left mouse button on the slider and entering the value manually.


Thank you, Boris!

That was yet another interesting tutorial. I used your advice to “colour grade” a Spanish Bluebell into a “lemon tree”. Great fun!

With a large goldleaf frame, a bit of more yellowed varnish, and some craquelure it could well function as a piece from the Rembrandt era :slight_smile:

X-T3 + XF35mm/1.4 + LED cube

Have fun!
Claes in Lund, Sweden


Excellent - it all suddenly made sense now, and also makes understanding the channel mixer module so much easier as well. Thanks!

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New episode: dynamic range compression :clamp:


A nice set of edits once again.

I noticed that the RAWs you started out with are very dark to begin with, at least (a lot) darker then those in your other moments.

These are high(er) dynamic range shots which are probably selected/shot specifically for this video, I know, and you are also toting around a D850, which doesn’t hurt when tackling dynamic range :slight_smile:

Are you willing to tell a bit more about your approach at the moment of shooting these?

Anyway: Thanks for uploading another great one!

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In fact, the D850 has very good dynamic range and you can take underexposed shots without a lot of noise during exposure compensation. The camera also has a highlight weighted metering mode, which I like to use for subjects with a wide dynamic range.

When taking pictures without that mode, I control everything manually (exposure, aperture and ISO values) and make sure that I always set an exposure value below the measured one to make sure that highlights are not overexposed.

As a D750 owner I use that metering mode myself. If at all possible using Live view (with Exposure preview + Histogram active) and aperture mode. Very nice combo for slow and still shots.

I do believe that the D850 is a bit better in preserving the blacks when shooting underexposed, though.

Thanks for your reply, it’s always nice to read that one is on the correct path…

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really very impressive edits and stunning how much you can lift the shadows from your D850 Raws without noise taking over. Really nice.
I realized your “Clarity” presets for local contrast, that you used in here. Would you mind telling a bit more about those presets and share them?

Great work and very good source of education as always looking at your edits … …

Cheers, Martin

Hi Martin,

Here is an article about it:

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