My fun - ART and GIMP L-a-b
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@yopyop95 looks pretty good!
I am yet to attempt the image to see what I can do, but I concur with this editing approach. When I edit I set the exposure adjustments to get the highlights looking good. I then use a mix of shadow and highlights module, tone equalizer and color balance RGB modules to recover the shadows. This strange approach of mine tends to minimise the artefacts by sharing the workload between modules. Each one has its own unique masking system to determine what is a shadow so the transition is less of a problem compared to getting one module to do all the heavy lifting.
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Here is my attempt using the above described method but not using any masks or even the tone equalizer module. Probably took no more than two minutes. DT V4.7 using the color equalizer module to darken blues and increase the saturation of blues to enhance the look of the sky with no masking applied. BTW, the extreme chromatic aberrations had to be dealt with first.
P1005231.RW2.xmp (13.7 KB)
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Just mentioning a new feature in dt 4.8 (in master already), the highlights reconstruction module writes a raster mask if any of the masking buttons is active. That raster mask reflects the locations with clipped sensor data, the values in the mask refelct the âamount of reconstructionâ.
Itâs original purpose was to allow further desaturation of those parts but culd be of help here too.
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I just experimented with DT 4.7 and found I could create a raster mask in the highlights reconstruction module by simply turning on the uniformly mask and leaving all the sliders and options alone so that there was no change to how the module was working. @hannoschwalm would it be practical and desirable to just have have this raster mask made anyway with no intervention from the user? In the meantime I might consider including this action in my styles that I apply.
Wouldnât think so. It takes time & resources and seems to be necessary only in corner cases.
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Another attempt from me, using only masked exposure. I found that the use of the chromatic aberrations module was essential to reduce the artefacts.
I did not really darken the sky, but avoided brightening it.
For the exposure module, a parametric mask was used on the Jz channel with some feathering. Increasing mask opacity helped. Normally, I also increase mask contrast (I usually set both to ~40%, not really precisely, just with approximate clicks), but here that to artefacts. Using a larger blurring radius helped resolve most of the visible problems, I think.
I increased the contrast in filmic. The shoulder and toe are set to safe.
Certainly no masterpiece.
P1005231.RW2.xmp (11.6 KB)
A close-up of approximately the same region I also included in my previous posts:
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I would like to thank everyone for the replies, I learned a lot from you all. I think that my go-to solution for these situations will be (in order of preference)
- âlinearâ compression presets in tone equalizer, optionally restricted to blue or near-blue
- blue-related tweaking in color calibration,
- masking, if all else fails.
I agree that the image is technically challenging, because of CA.
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P1005231.RW2.xmp (13.8 KB)
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