Lessons

Lesson Info

Infrared Whitebalance in Post

So let's talk about this idea about how far we can push the white balance. And I've got some shots here. These are from I guess we can use, um Seattle. We could even use this one. But it's not the most exciting shot I wanted to use. These are from Virginia. A, uh, Panorama will give a little teaser for our shot tomorrow. Class on panorama stitching. So here is during the cherry blossoms were going off in D. C a while ago. This is out in. Somebody will know, especially this portion of the thing. Ah, special Korean portion of the of the garden area. What garden? This is in Virginia. But here is the J peg and you're seeing and we can move on some other ones so you can see what's going on. That white balance is giving me my CPS and science that I love so much. And here is the raw file. The raw file in this case can't even get close to this file here. It's not even giving me a proximity. You notice When I shot the Nikon out in the field, the actual what I saw in the back of the camera and w...

hat I got when I brought it into light women A CR wasn't that far off. The white balance was not that distinct. In this case, it's dramatically different. This is actually the raw file, doesn't even It almost doesn't even make an attempt. It says, just, Dude, I didn't know what to do with that. Talking about a CR and light room. So how far can we get these files to get closer to that file? Okay, so that's what we're going to be talking about right now. And in this case, we'll just go ahead and take these two files, both the raw, these air coming from a CR to these air raw files coming from my enhanced color converted G 15. So that is found with a really nice sensor. And it is going to give me a similar to result to an SLR either canon or Nikon. Okay? And actually, let's go ahead and we'll just go ahead and open up all of these because we'll do it. Another little teaser related to shooting panoramas and the benefit of using this kind of process for optimizing panorama is I'm gonna do as we mentioned yesterday. I'm here in the bridge. I want to open them up. I don't want to open up. Photo shopped at the same time as the default setting. If you were to do a commander control Oh, depending on your settings, it could send all the J pegs in the photo shop in all the raw files over into a CR, which is not what I want. Also, if I were to do a commander control Oh, it's gonna open up Photoshopped Photo shop will also automatically take probably 75% of your ram. That's the elbow room in which you work. I'm not even going to go into put a shop yet and tell him ready to do some stitching. There's no reason to do that. Do a command or control R command are on the Mac control are on the PC or hit the little iris up here inside of the bridge. And that will open up all the images inside of a CR. This case, I'm going to go to a representational image. What in this case will be my center image and see what we can do for the white balance. This is as shot So this is the temperature. Even though this right here is set with the white balance and camera, you would think that again. It's since it's just a numeric value. There shouldn't be an issue for this to be able to match it, but it runs out of space. When we look over here, that temperature setting may go to 3000 orm or in terms of or actually down below. That's the temperature we needed cooler than 2000 degrees. Calvin. I can't get any cooler on my color range Inside of light Women A CR I just can't do it. I've tried taking a wax pan and drawing on the screen and moving. It doesn't work. That's really all we need to dio and again. Adobe may at some point do that Other raw converters like Phase one and other ones like that do have the ability to push it further. They still won't match exactly what's going on, but they do allow the white Balance toe, have different settings that are possible here. So that is something that some people do. You can also come up and create a custom profile. There's a DMG profile crater that adobe ships for free. You can go to Adobes website Do Ah Google search for DMG editor and from Adobe and it will let you do some customizing of the image, including there is a white balance slider and you can kind of push it over even Mauritz not necessarily associated with the degrees Kelvin. But you can say, Dude, would you take give me a little bit more so you can create a custom damn G profile that lets you doom. Or part of that is actually built into light room and a CR And so I'm gonna show you how to access it here because it is different for each image. Just like your white balance changes as you're shooting your normal images. White balance with your infrared is changing as well. Just because the temperature of what you're actually looking at is changing. Even though we're shooting an infrared as you look around, things change. Okay, so we can't push that any farther than what is possible. You'll notice the tent, though. There two components here does let me go further, okay? And I can move it. You'll see what is possible in terms of our slider here and we'll just push it. You'll notice some of the images that I showed this morning. I talked about a custom white balance where I purposely push it toe, emphasize a sunset. You know, we're sunrise, so you can get creative with your white balance. But here is what I'm going to do by taking that green even further over. And it's giving me mawr of my C Pia. Then where it was when it started off here, I'm getting which is kind of a magenta purple cash? Yes. So I'm getting mawr of that area right here. But I was still want the differentiation of the colors. I'm still getting something that is quite monochromatic in here. And for that, I'm gonna come over here to this panel. It's known as the camera calibration panel over here, camera calibration. And this is going to allow you. And this is useful for a number of different areas. Not only infrared, but your color photography, because this is where you're going to get your camera profiles based upon what you happen to be shooting with now, in this case, because it's a point and shoot, Adobe has actually gone in and profiled. All the major DSLR is that are out there hasn't gone into the point shoots. And even though this is a nice one, this is probably something that they haven't calibrated for. Created a profile for But it may be. This may be exactly associated with the Canon G 15 but what they've done because of this discrepancy of what you're shooting in the back of the camera and seeing in the back of the camera and what you're ending up with, they've gone in there and created custom profiles specifically for the menus in the back of your camera that may say, landscape or portrait or neutral or vivid or things like that. This the list changes based upon your camera and as an example of the difference between portrait and landscape, is punching it up with saturation or de saturating the oranges. You know someone, So that is something that's built into it. So we could even come up here and look at some of these defaults and you're going to notice that some of them are going to be mawr subtle or may even bring it more color based upon this because this is actually at a profile level. This is not going in here and changing, say the colors and you saturation or moving any my sliders. It's actually under the hood, and that is the benefit of creating a custom profile for your camera, your scenes. You know what you normally do, but in this case, we're going to continue to work on it. I may find Portrait. Let's do faithful. I want a little bit more color up in the sky, but you'll notice that I have another tent slider, just like I had over in the basic portion of a CR Here's were in the basic panel. That's where we do our main white balance. It's same thing is the basic panel inside of light room light room goes up to down and a CR does left to right. If you're a light room user, so going back here, I've got my shadow slider, and this is going to allow me to continue to find Tune that Shadow, and this is actually useful in a lot of things. So here I can take that and push that tent even further to kind of neutralize this color caste. I also have at my disposal. Access to the red, green and blue primary colors that make up our scene. That's the primary colors off omitted lighter red, green blue is opposed to reflective light, which is cyan, yellow and magenta printing jobs. That's our printing colors. If you're a crayon person, you know, red, yellow, blue, you can think. But it's actually sigh in yellow magenta, and what I can do is I can come over here and I can push these even further to kind of neutralize what's going on in terms of the color caste being brought on by my inaccurate white balance. So you can see by taking my blue hue and shifting it over, I'm actually neutralizing mawr of that shifted, getting it to a much more neutral color. I can play around and you can obviously I can shift it another way. You can get really creative in terms of that, and because this is working under the hood, it's a great way to start. It will give you the best possible quality that you can get By doing these sorts of color manipulations. I can come up here and do the same thing with my Green Channel where I can come up here and fine tune that you'll notice. Not only can you shift the shoe slightly one way or the other, you can also come up here and work with saturation associated with any one of these. So I can take that down or up based upon the flavor that I'm going for and the same thing with the red. I can come over here and shift it. And it could be again that I want to do some shifting of it or reduction in my saturation to give me a more neutral tint for it. So this right here is the file that I opened it as and here by pushing my white balance as far as it could go over here in the basic tab and then coming over here to my camera calibration tab, I can come over here and continue to find Tune that setting. I can, even if I want to. If I'm creating a custom image that I'd like, I can come over here to H s L H s l shoes saturation and luminous, and I can continue to find too in it. So now what I'm doing is I'm actually this I would consider Morva creative option where I'm saying I want to manipulate the image and I like this exaggerated color situation. So let's say that I want to take the things that are tending toward having a little bit of coolness to them, and I want to see if I can push them either even farther. So I'm starting to get some coolness in portions of the image, and I'm gonna push that even further. I'm gonna come over here and I'm shifting the shields, find everything that's even closely related to that color. And I'm gonna push that Hugh more so it becomes more apparent. If I were to do this will come over here to the J pick right here we can see is a lot cooler. I can come over here and take those blues and I can move them towards the purples or I can move them to the greens. So that shifting of the Hughes what I'm doing, it's much more subtle in this file because of the limited color that I have available to me. But I can still continue to manipulate that in terms of the oranges here. If I want that orange to be less orange and more yellow. I can also find Tune that here. So if I come up as and find a starting point that I like for the image that's continued manipulate this a little bit as a starting point. Basically, I'm coming up with a preset for my images. And if I have something that I like for a particular camera, and I'm not really liking these these shifts on this image, So I'm gonna isolate out my camera calibration from actually, you know, I lied. What I'm gonna do is I'm gonna make a preset and rather than making a profile that would be loaded into the program and that would work at a base level associated with that, I'm gonna make a preset. I like presets because every time I shoot something, it's gonna be a little bit different. And it's so easy to go through presets as opposed to loading in profiles. So I'm gonna come over here to this tab and in side of a CR. It's over here on the right hand side, where all the my other tabs are in light room. It's over on the left hand side my snapshots and presets over on the left hand side where my history palate is. So either both places allow you to save a preset, and this right here specifically is a mike in and G 15. So if I wanted to make a preset that I could use here, I could come down here to my little dog eared page icon in the lower right Click on it, and I'll just say, uh, G on Actually, let's do what I would really dio, which is go up here and say I are They all come up after numerically in my list, So I are. Now we're talking about presets, will say g 15 and will say G 15 1 because I have 234 and you're going to see in a second series of white bounds that I have for my cameras and starting points. And specifically, I'm only going to be concerned with this camera calibration. So I'm on Lee going to come up here and ask it to save the settings in camera calibration. If I used the shoes saturation and luminous, I would say, Would you please save that and that I when I create for infrared being the sort of person that I am, well, just come up here and we'll just say for right now this is the camera calibration. So it's just associated with the I R. But I'm also going to do everything that I normally would do in light room or a CR, especially for a landscape. So let's say on this image here, I'm going to say, You know what I often do. If it's a landscape, I'm gonna take my clarity up. I'm gonna take my shadow up. I'm not gonna get too specific to the tonality of this image, but I am going to come up here and do stuff that is specific to something like a landscape. So I'll take my clarity up. I may take my shadow up a little bit in terms of that, I may come up here and do a little been yet ing. We talked about that yesterday. That's part of my process. I'd love, and yet, so I'll do color priority. Do a little vignette along the edge. This is a post crab in yet, So no matter what image that I'm working on, it will automatically follow whatever crop. So now I've got my, um, before after before after, So I've got a number of things that I'm doing to the file beyond just playing with the white balance. And, uh, we're getting a green cast up there, which I think is part of the projection. But, um, and I even made do sharpening. So as an example, if I'm doing this, I've got a default setting of some color noise reduction, but zooming up on this image coming from this file, it looks like a really clean file. But it could be that I also add some luminosity noise reduction to it. I may also not choose my default if I want to go ahead and do mawr that I usually do with this particular camera. I may take my radius and amount up if you're not familiar with sharpening and a CR in light room. Um, I'm usually very judicious with the detail. That's the amount of contrast within the radius. The radius is the sphere of influence for this sharpening its and measured in pixels. So the default is one pixel. I often will exaggerate that, especially on the smaller cameras and then I'll also because I don't want sharpening of the entire file. I'll come up here and I'll use the masking feature in concert with holding down the option are all key. You've never done this little trick. What masking does is it allows you to not sharpened subtleties like noise in the sky or pours on the skin, and lets you just emphasize the edge contrast in order to bring up the appearance sharpness. So I'm going to do that. I will always use masking because there's no reason for me to sharpen the subtleties in the sky. As we've said before, that could be the where you gonna find noise. I don't want to sharpen that noise even with my noise reduction in here, I also if I'm using ah, uh, lens that has a bit of a wide angle to it. There's no reason to not go ahead and do go over to your lens correction setting and do something like remove chromatic aberration, little teeny subtleties that can happen when you're using a wide angle lens, especially on the edges of your image. Adobe has got algorithms now that do global chromatic aberration removal and works great So again, I was noticing some of that in some of the highlights. Since I am shooting middle of the day, Oftentimes you do have that high contrast setting of, you know, white special at the edge. So now I've gone in here and I have done white balance. I've done clarity. I've done my basic sharpening, have even done a little bit of then yet, and because we're dealing with a panorama, let's take off that effect because I'm gonna actually, um, combined these images, but I've got quite a bit going on. Here's my p for preview on the image. So I got sharpening noise reduction, white balance and all that. Now I'm gonna come up here and I will save another preset and in this case will come up here and we're going to call this ir hyphen G 15. We may do a two and we'll call this enhanced Teoh separated from just a white balance change. Okay. And again, I still only want to save the things that are pertinent to this. So this is camera calibration, and I've also now done my sharpening my noise ruminants and sharpening. Those are the things I want to make sure and add that as well as come up here to things like clarity. Okay, and that will give me presets. And the benefit of that is that when I'm here, I can actually, right now, either synchronize, I can actually go to all my images and either use that preset or is often the case. If you're not saving presets, I can just simply hit synchronize if I hit the preset that preset. While all of these air active is automatically going, apply everything that's part of that preset. If I hit synchronized, which probably isn't a bad habit to get into in these situations, especially dealing with what something that will be turned into a panorama synchronized, it doesn't Presuppose that you want to synchronize everything associated with that file. It's gonna come up here and give you the ability I just want as an example. I just want that white balance so I can come up here and I can choose what I want from my parent image. Whatever is in the center here is considered the parent. Whatever else is selected in the filmstrip, either here on the left, in adobe camera, raw or down in the bottom in light room. It's going to synchronize that in this case I haven't done anything else to the other images. I could actually say everything because nothing else is going on in the file. Or I could go through and set specifically what that I'm interested in. So presets are handy. The other thing that's nice in terms of presets is that when you're in light room, you can just hover over the preset and you have that one of a little preview window that shows you what you would get if you'd click so you can actually have dozens. As you can see here of white balance previews, you literally hover your cursor over that until you find one that's pleasing. Click on it and you're good to go. The benefit of presets and adobe camera raw is you can actually access them from the bridge, right click on any image or even 50 images. Right click develop settings. All your presets will be there. You don't even have to open them up in adobe camera raw. You can actually manipulate your image in the bridge without even opening up a file, so all your presets are available in the bridge. That would be that benefit there. So we'll say everything. And now I've got all my images that were pink are now balanced out based upon what I've got going on here. Okay, that is you can see is a very different look than what I was getting inside of my J Peg and again often times why I like working with JPEG as a starting point. If I've especially done a nice custom, white balance and camera, because I already I'm already that much further down the line. I don't need to manipulate a matter of fact, I may say that I already like it as is so again, I oftentimes will shoot as J pick. Not raw as long as I do That cautious J pig that I mentioned before sharpening down adobe RGB color space, which is flatter, low contrast. I've got a file that it's going to give me a lot of range in terms of what I can do with pushing the file. Okay, which, by the way, let me go ahead and I'm gonna optimize this shape because this would be my more standard workflow of using this as a starting point and then seeing how far I can push it. So this actual will be an interesting, because it will be a comparison between these two. The one challenge on this file is I'm shooting directly into the sun and I'm getting this halo going on here, which is a not your standard shot matter. Fact. Let's actually will do done and do an image that is a much more standard infrared shot. I think it's much we're fair comparison. This is actually during the same shot. This is in that same area. The temple is on the right hand side, and this is another panorama which will use me. Just go ahead through these images and you're seeing basically coming out of the camera. Four. This other portion of that same park. So we're getting the color. It looks to me like I have got my little icon here, so I've examined exaggerated color and tone. I've probably also done that clarity, and there it's actually let's open up a few images, and that way we will be able to choose our manipulation while we're here. Questions that will these air opening out in television land out intelligent television land. Um, one of the questions we got from picture drop pictured rocks is if I am doing this with J. Peg is there is the quality going to degrade quickly? If you're doing extensive total work, then yes, that is kind of my thing is that if you're getting the exposure in camera, correct, then you have that latitude. You're basically you're not trying to pull things out kicking and screaming as I say. Um, if you are having image that is compromised than that, J. Peg because you're already limited to a bits of information red, green, blue channel is gonna be a bit of a challenge. Um, can you get great quality from it? Yes. This would be an example of it. This one is an image that I've talked with for ah, 1,000,000 years as well. That is another point. And shoot camera J. Peg shot. You can see this would be a case where I've got a limited tonal range on the file. You can see it's flat. It's not correctly exposed for my highlights. It is, it's flat. So that is nice, because it's gonna give me dynamic range. Let's see if I've got a snapshot here, but this is showing you how far I can push that, J peg just with a simple basic setting. So, yes, you can actually push it really far in terms of what you're doing. And especially if you take advantage of things like you're sharpening algorithms or even you could come up here and play with things like your graduated filter. If you wanted to add a little indie effect, you know, you can come up here and get off creative. Come up here. Maybe with our shadow slider, which is you're going to see here. Actually, this is using the old processing engine. So we go to the graduated filter and do a little chateau, and I can, you know, highlight that. So looking at the image as the before after before, after you've got a lot of latitude even with the J peg a special If you shoot this in this flat as I'm talking about the one issue that it will really has, the potential of falling apart in is that area of Ed sharpness and why I'm so cautious about the sharpening settings in your camera. The pixel art. If acting because J. Peg you, of course, want to make sure that your J peg settings are at the lowest amount of compression, the highest quality of the J Peg image. But when it comes to find detail pixel ed sharpening, that's where the pixel, uh, compression of JP can have a problem again by not having my sharpening turned on for my J pegs. I'm not getting an exaggeration of that pixel artifacts. So again, it really depends on what you're doing. But remember, I shoot both J peg and raw for those situations where I am getting a compromised image. I will go to that. And if I want to, because I don't convert my RAWs, especially my infrared images. I have captured an X at my disposal to If it's the money shot and I really want to get that, then that's exactly what I'll do. I'll jump over to an X, especially for things like a panorama, and I will open them up and convert them to a 16 bit tiff. The same sort of thing that light room does when you go from light room in the photo shop is a default to maintain as much information as possible That saves it as a what would be a high bit depth tiff. And the same thing would be done with capture and ex or, you know, face one or whatever else you're using to do your conversion. If you did want to use a different rock inverter, you can do it for the money shot for my my typical work. I love my work flow so much inside of light room and a CR as I just did right here, taking that Grady it and doing a little nd at the top. A little shadow on the bottom. Um, I've, you know, done a great amount of work very, very quickly. And so I love that. Yeah, you're welcome. Any other questions? I'm here in the studio audience. Okay. I just go ahead and finish off that file from before. After it out. Yes. Yes, yes. Um, I noticed earlier that you had flair in one of the pictures. Yes, about the number of them. Is that enhanced when you use infrared? Well, it depends on both of these cameras. Right here. I don't have a shade on either one of them. They don't come with a lens shade as part of the process, so it's not necessarily part of the infrared process. It just happens to be that I'm using smaller cameras that don't have come with a lens. Shade is part of it hood, as it were. So, um, but that does bring up a little bit of a nebulous point. Some cameras cannot be converted to infrared because of how light bounces around inside of the optics. You'll see that in the life pixel website and other ones as well. They won't convert in certain cameras. I've actually had I wanted them to convert some of the Sony Alfa Siri's two infrared for me and even some of the Panasonic Lou Mix has some very nice pocket cameras. And because of how the optics are within the lens, there's too much light bouncing around. It actually starts doing too much, and you get hot spots in the lens, so it's not as much that you're gonna get mawr flare in it. But there are some camera lens situations that don't convert just because of how the infrared light is bouncing around inside of the optics. So it is uninterested point, and that specifically related to hot spots. Okay, good questions. Um, okay. Even though this is an image of you, since we're already taking this one far, I'll just mention that same sort of thing that we did with that other one. Here's R J Peg. Um, it was cooked in camera. It gave me my nicey pia. You'll notice that even though you don't really see any of that secondary color in here, this one which was a standard conversion, actually does have the CPS and science built into the image. I'm not doing anything other than that tango we did yesterday for optimizing our image. Three great thing about that. We have a three shot for Panorama. Actually, this is only looks like I only got two shots in here, but I could do that same thing that I did before by simply holding down the command key our control key on the PC. Select two images. If this is the parent, the other is a child command click. Because I'm jumping over one image. They're not next to each other. I can say synchronize. And if I haven't done anything special to the file, I can synchronize it in this case, you can see I went back to an older version of it that, um, I can synchronize everything. Why are things great out for the same reason that I'm getting a little icon down here in the lower right? That's saying it's an older process. Like I said, this is an older image that I've used to teach with, and I can update it to that new process by simply clicking on it. And it's now the new process. So now when I come over here to synchronize that it's going to say, Fine, I can synchronize everything. Come over here and now I'm actually ready to, um, take these files by war Wanted to state your panorama, which we'll get to in a bit. Let's take aim or a neutral image. We've got those files here and do a little bit another little optimizing to the file. These are files for some of these. They're not really related to infrared. Just because they're just monochromatic images. They don't have a lot of secondary color to them. So this is a shot from the pen image here down in the the Caribbean a little bit ago. Here is looking at from the Crow's Nest at one of the star Clippers, the largest square Riggers that are still in operation in the world for commercial use. And those air actually cruise lines that you can stay with highly recommended awesome great star clippers. Do it. You're actually on a sailboat instead of a you know, Disney land on the sea. So I love it. So here I'm up in the crow's nest shooting off to ah, what? Maybe ST Barts here in the Caribbean And I'm just gonna go do what I would do to a regular color image is not a big change to it except the fact that this is a landscape. So I'm gonna be be doing that as I would for a landscape shot mentioned yesterday. Um, when you have got your white balance where you want it again, you can see here because this is Jay Peg. The nice thing about J Pick. Since I've cooked in the white balance, I do have the ability to find tune it because I've basically that's one thing you'll always see. When you've shot something with J. Peg, you no longer gonna have degrees Kelvin or tungsten or cloudy or any actual white balance setting because it's cooked into the file. There are no degrees. You'll notice there's no 1000 degrees or anything else going on A. J. Paige is no longer has access to the temperature setting of your file. It was cooked into the file. It can change what they called temperature intent, but it's actually I can just simply cool down the file and, you know, make it less of magenta or anything else like that. So I confined to knit, continue to find tune it in the file. But I really don't have, um, access to the white balance from my standpoint, because I've already got it. I'm just kind of doing a fine tuning to the file here, and I can actually my fine tuning is great. Actually, like that, I can either exaggerate the color, as I've done here in this one where I'm bumping up the color or in this case, I can minimize it. So, um, first step again is, however you want to tackle that white balance issue, whether by doing it in camera or fine tuning it here or starting with that profile, including our camera calibration secondary step is gonna be I hit auto because what auto does if we look at our default about our history? Graham here, auto in both light room and a CR, which uses the same algorithm, is going to try and take a stab at thes six elements that are part of our basic panel exposure, which is our mid tone value contrast. The distinction of the middle tone values the same place that exposure works, shadow and highlight. In this case, it's not doing any attempt at either one of these. And it's going to try and set my white on black Point, not clipping a significant white or plugging up any black. So it's just doing a little bit of work right here. And in this case, looking at my history, Graham and I can turn on my little warning to see if it's doing something that I'm not crazy about. Both in the upper left and upper right there are both a shadow clipping and highlight clipping. Um, little icon that's gonna tell you where clipping is taking place, and from here I can see that probably I want to maintain that highlight. I could take it up to a plus 15 in auto, it said. That can't be significant. It's probably a speculum highlight on a piece of water or chrome or something. But in this case, that happened to be cloud. So by hitting auto, I can take advantage of what it considers a good contrast, setting everything else within the six. I'm turning on that warning and I'm gonna come up here and I'm gonna come up here and see if there's any significant area that's being clipped. One thing to remember, where that little warning option in the upper right hand corner and the upper excuse me left hand corners well again works exactly the same in light room that is showing you where there's clipping in some channel. You don't know if it's being clipped in the red, the green and the blue, or just one of the channels, meaning it may come up here and show. Let's go ahead to auto again that there's clipping going on. The only way I can find out if there is. If that is pure white or there's actually is color in there, it's just being clipped in one of the channels is by holding down the option key on the Mac or the all key on the PC coming over here to my whites, and it's going to show me what color is being clipped. If it's green, it's on Lee being clipped in the Green Channel, so that is actually why it clipped. I'm surprised that it clipped that much when I hit auto, and that is its clipping it in the Green Channel. It's not clipping it in the red and the blue, meaning that there's gonna be adopt there on my print by printed out this on paper, it's not blowing out the speculum highlight. The warning is there to tell you you should be cautious because something is being clipped, so that's up to you. Whether that is enough by continue to go up, you'll notice that it goes white or yellow. Yellow is gonna be a combination of the blue and the red. If goes pure white, then it's being clipped in all channels. If it's just read, it's just read, etcetera, etcetera, so you can come up here and see exactly what's being clipped, and I can come down here and again, take it so that there's no clipping whatsoever or a little bit of clipping is fine. If you have a speculum highlight, there's no nothing wrong with the highlights on water or chrome to go pure white. The white of the paper If you're going with a print, okay, so auto that set my dynamic range. The same thing goes for the blacks. If I come over here and I've got that turned on, you'll notice the blue is showing me that there's some clipping taking place pulled down. My option are all key and move that, and I can see where the clipping is taking place. If it's black, it's clipped in all three channels. If it's something like Blue, it's just one of the channels. So again, that's the idea. At what point does it become a significant clipping and by hitting auto, it's that that actually two plus one and, um, works for me. Also, remember, I mentioned yesterday that your hissed a gram is now interactive in adobe camera raw, just like it is in light room. So if I did have some clipping taking place, I can come all the way up to this little highlight. A portion of my hissed a gram. The whites and I could actually just drag my hissed a gram itself in order to reduce that clipping or find to any portion of the total range. Okay, so auto, fine tune the auto if you want to. Next exposure is your middle tone values. I'm looking at my middle tone values. I see that works out fine for me. So I'm gonna jump over to my shadows and highlights. And in this case again, that may be a situation where you use auto and knowing that you have that at your disposal. Remember when I was using the whites? That's just the white slider. It could be that I I'm gonna use my highlight slider, and that is gonna take more than just the whites. It's coming into those quarter tones, not just the upper portion of it, but I can actually kind of find tune that area by grabbing mawr. The white is right here. This right here is my highlights. That upper portion of the image, the upper third, so to speak. So that is another thing. To get rid of clipping, you may want to work with your highlights. Just like the same thing with a shadow. I may come up here. I wanna pull in mawr shadow detail by using this shadow slider rather than messing around with my exposures. And again I can see is I take those shadows up because it wants to move everything. Looking up at the hissed a gram, you can see that I'm manipulating more than just the shadows. It's actually coming all the way up into my highlights. And again I confined tune, then my highlights as well, of shadows basically getting a greater dynamic range in the file here by manipulating my shadows and highlights, uh, next if I want to, because it's a landscape Aiken do my clarity clarity is your edge contrast mentioned yesterday. You want to be very cautious in terms of any sort of portrait scenario, with increasing the contrast, because wrinkles will call it our character lines all fit within that edge contrast area, so be cautious. But for a landscape, you know, I love extra bit of clarity. Because of that, you'll notice that I'm getting a little bit more cause it's exaggerating edge contrast, including what's in the clouds. That also may be a situation where you want to do your clarity earlier in your process and then continue to fine tune that white or highlights in order to make sure that you're not clipping that file. So I got my clarity the last thing if I do. I've already taken my vibrance down because I'm going form or of a monochromatic look to the file. But this is again where I could come up and exaggerate that If I'm liking this theme colors that I'm getting in the file, then I can go ahead and definitely, you know, exaggerate that. Okay, so we'll say, actually for teaching purposes, let's say I I'm liking that color. It's a little bit intense in some areas, but I'll actually have that. So that is the basic Optimizing the basic panel is where you are going to do the basic optimizing of your image. Let's go ahead now and do a little bit of an enhancement to the image before we synchronize it to another file. That's right next to it. And this is where I'm gonna bring in that HS help panel, which I think is so incredibly useful for infrared or others, because it's going to allow us to fine tune the colors that are left over in our infrared. And in this case, I can come over here. I can either use my tool that's associated with it in light room. This tool, the targeted adjustment tool. The T tool is right with the panel that I'm working on. So since I'm in h s l, there's a little teeny, tiny three pixel icon right there in the H s L panel. That's your targeted adjustment tool. If I am up here in adobe camera raw, it's at the top of our panel. If I click and hold down whatever panel is currently active, it will shift that it will manipulate that. You can see I can do a curves adjustment here. Hue, saturation, luminant, which is where I'm currently at. Or I can even do a grayscale mix. But in this case, I'm in hs l and I can come up here and I can shift that you so you can see looking at the panel where it's gonna be moving that particular color that I'm on, um, left or right? Okay. I may add little bit of green to it if I come down here to the water surface. You can see I can either exaggerate that little bit of purple that I'm getting in here. Or I can kind of minimize that by shifting it. I also have at my disposal the saturation. So if that yellow is getting a little bit much, I can again use that same t a t tool because saturation is active. As I click and drag, it's going to be changing at that portion of the spectrum, leaving my cools alone. Okay, I can again find Turn that I could even come up here and go into a luminous And this is again where this is so much more powerful than eight Esalen Photoshopped Because HSE Ellen, photo shop is you saturation and lightness. Who've ever used the likeness slider instead of Photoshopped? You know it's inherently evil, useless, bad, yucky will flatten out. Your contrast really doesn't have any significant use for it here inside of a CR and light room because it is accessing the true luminosity of the file. It is gonna allow me to get a huge amount of fine tuning of, in this case, just the luminosity of the cools in the file and the cool portions of the file not to be confused with the groovy portions of the final. The cool portion. Okay, and so that's hs l. We're going to do a chess sell in a second when we do a black and white conversion from full color. When we imitate infrared, this is going to allow us. They just sell panel to get as close as we can get to a true infrared. The last thing that I may personally do on this file here is a little bit of targeted adjustment. And if I want to if the I if, basically, if I squint, I'm getting my the sale at the top of the file, it's a little bit light. Theo. Emphasis is on the mountain scape in the distance so I may come up here to my graduated filter. Do a little negative on the exposure, click and drag, and I may just dark and down with a nice soft edge the sale to draw the eye to the center of my composition. Okay, so just I want to look down. I'm looking past the sail into my subject matter, which in this case, is the landscape. Okay, so little targeted adjustment is always gonna be useful. I I like it that maybe even yet or something else like that here. I've got two other shots that have a similar exposure to it. If I wanted to use this as a starting point again, if I was in photo shop, all those things that I would have done, including the target adjustments, I would have started over from scratch, for the most part, adding, I, um different adjustment layers. In this case, I can come up here shift, click through the files because they're next to each other. Synchronize this case as long as I don't hit crop will say, Go ahead. OK, and I'll use that for a starting point. And that is giving me a starting point for my image. Jack, I have to ask, How did you get up in the Crow's nest on that ship? Did you have to talk today? Since we were actually hired by star clippers to to shoot, were actually had a group with us down there, Teoh, shoot the passing. I was on one of these square Riggers and there was this unique opportunity of two square Riggers passing each other, and they wanted to showcase that for their promotional material. So we were allowed normally would not be allowed to go that far. Up you go kind of halfway, but to go to the top, you actually need to climb on the rope, the rigging with with Yeah, So it's it was fun. It was great, but it was something that you normally couldn't do. But I had that, you know, get special permission to do that. I actually had planned. I gunned down there with my quadcopter to shoot. Um and, uh, mine was lost in my luggage at the airport on the way down. So here I am on this shoot on the other side of the world. And unfortunately we had another one Neil who's were shooting with and Susan, different people associated with creative, live and awesome people. It was actually Neil's great gig, and I was invited to come along. He would have his quadcopter, and you can actually later on, I'll bring up the the footage, the little promo that we shot, which was really neat. But anyway, so we had quad copters of both ships and I was shooting video and stills from the top of the Crow's Nest here. So anyway, in terms of that situation, there is undo isn't working. And nor is the, um, preview working. So I've got a little issue going on here sometimes that the preview actually in the video is when you're marrying out to a video source will blame it on that rather than on the Adobe software. Always a good idea because of the mirroring. It has issues with things like that, but it will go ahead. And here is the pre tweak. And here is now the undue is doing back and forth. Let's see if the P yeah, the P for preview is not doing it. Okay, but that's synchronizing the file. There was some tweaking. This one even had that targeted adjustment where I used the graduation. So even that was synchronized with the file. Um, actually, let's do that because I don't know as a default when you synchronize, it's a good setting. Come down here. Local adjustments is not selected as a default. So if I really wanted to get everything on this parent file, including the shadow Grady int at the bottom and the one up here at the top. That is going to be by turning that on. So there I've got my Grady int at the at the top there too dark in my my highlight.