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Posts Tagged ‘Processing’

Photo software Exposure X6 brings 3x faster processing and a host of new auto adjustments

08 Oct

The Exposure photo editing software application, that was formerly Alien Skin, has been updated with enhanced GPU optimization that allows some oft-used functions to run at three times the speed. Exposure X6 also introduces a collection of new automated adjustments that aim to make image processing simpler and to save photographers time.

Available as a standalone application or a plug-in for Adobe’s Photoshop and Lightroom, Exposure X6 introduces Auto White Balance, Auto Exposure, Auto Haze Level, Auto Dynamic Contrast and Auto Tone for creating one-click fixes for common problems. Tonal and contrast adjustments are said to avoid shifts in color saturation and hue, and the Auto White Balance adjustment is based on camera metadata. The sensor used is also taken into account in the new noise reduction feature, along with information about the ISO setting and an estimate of likely electronic noise.

Before and after examples of the new Color Editor tool that allows colors to be selected and replaced. Changes can be saved as a preset to apply to further images

A new Color Editor allows users to select and replace specific selected colors, and to make multiple color changes within the same image. These changes can be mapped and saved as presets to be used in further images so sets of pictures can have consistent adjustments made.

Exposure X6 is available for download now, and costs $ 119. If you bought Exposure X5 on or after July 15th 2020 your upgrade will be free, and those who bought it before that, and users of previous versions, can upgrade for $ 89. For more information, and a free 30-day trial, visit the Exposure website.

Press release

Exposure Software Announces Exposure X6, Image Editing Software for Creative Photographers

Exposure X6 features dramatic speed improvement, one-click automatic adjustments, advanced color replacement, innovative shadow/highlight and noise reduction processing, and more

Exposure Software, formerly known as Alien Skin Software, today announced the release of Exposure X6, the newest version of their award-winning RAW photo editor for creative photographers. Exposure is a standalone image editor that handles a full photography workflow. It includes plug-in support that enables Exposure’s advanced editing and creative effects in Adobe Photoshop or Lightroom.

New in Exposure X6 is advanced GPU optimization, which dramatically speeds up image processing. GPU support works in concert with Exposure’s existing multi-core optimization to enable Exposure to leverage the full power of modern computer hardware. Many frequently used editing operations have been sped up by a factor of three on typical GPU hardware. This improved performance enables editing at greatly improved speeds, reducing distraction so photographers can focus on creativity.

“The introduction of GPU support in Exposure X6 enabled us to achieve amazing speed and image processing quality improvements,” said Finley Lee, CEO of Exposure Software. “This further advances our goal of making Exposure the best available image editor for creative photography.”

New automatic adjustments select optimized values for the most frequently used controls in a single click, freeing time for creative editing. They can even be applied in batch to significantly ease the time spent editing large photoshoots. Exposure’s new automatic adjustments include the following:

  • Auto White Balance adjusts white balance based on camera metadata. Corrects for tungsten, artificial, shade, and sunlight illuminant scenes.
  • Auto Exposure sets image exposure for both under and overexposed images.
  • Auto Haze Level changes the level of atmospheric haze present in the image. This is particularly useful for backlit subjects and images shot into the sun.
  • Auto Dynamic Contrast lowers and raises the overall image contrast without changing saturation or hue.
  • Auto Tone sets values for Blacks, Shadows, Highlights, and Whites sliders that affect overall image tone.

Using an innovative tonal-zone approach, Exposure’s redesigned shadows and highlights controls are more reliable, consistent, and accurate. These intuitive controls are particularly adept at recovering lost details in the highlight and shadow areas. The adjustments are applied intelligently to prevent unwanted color casts or hue shifts. They are exceptionally well-suited in preserving high or low key scenes.

Exposure’s new profile guided noise reduction capability reduces noise based on camera sensor characteristics, ISO, and estimated electronic noise. Luminance and chrominance noise can be reduced independently. The smoothing option applies an adaptive noise-sensitive algorithm which preserves sharp edges while further reducing noise.

The new Advanced Color Editor builds on Exposure’s innovative 3D color masking to enable vastly greater control of color modifications. For example, a model’s blue dress can be changed to red in just a few clicks. Photographers can select source and target colors based on luminance, hue, and saturation attributes. It is even possible to select multiple color replacement mappings and save them as a preset to be reused.

  • Additional enhancements to Exposure include the following:
  • Updated user interface provides a refined, modern aesthetic
  • New haze level slider, for counteracting the decrease in contrast caused by atmospheric haze. It can also add haze as a creative effect.
  • Customization of the hue and opacity of the selection mask overlay.
  • Optional black background for the mask to view selected pixels without distraction.
  • Optional luminance or saturation background for the selection mask, which helps visualize the mask region when adjusting luminance or saturation constraints.
  • DNG converter integration enables conversion of RAW photos to DNG format using Adobe’s DNG Converter software. Conversion can be performed automatically when copying photos from a camera card, or manually invoked from a photo’s thumbnail view.

About Exposure
Exposure began in 2005 as a film simulation plug-in for Photoshop, and was immediately embraced by digital photographers of all genres seeking to recapture the organic look of film. Over the years, Exposure became a legend among plug-ins, and evolved into a standalone full-featured editing and organizing solution for creative photographers.

Pricing and Availability
Exposure X6 is available now from https://exposure.software for $ 119. Upgrade pricing is available to owners of previous versions of Exposure for $ 89. Additionally, anyone who purchased Exposure X5 on or after July 15, 2020 will automatically receive a free upgrade to Exposure X6.

Exposure X6 is also available in the Exposure X6 Bundle. This integrated collection combines Exposure with Exposure Software’s award-winning Blow Up and Snap Art tools to add high-quality upsizing and natural media special effects. It is available for $ 149. Owners of one or more of the current apps in the Exposure X6 Bundle can purchase for $ 99.

A 30-day fully-featured free trial of Exposure is available. Visit https://exposure.software to learn more and download the trial.

Host Requirements
Exposure X6 may be used as a standalone program or as a set of plug-ins. When used as a set of plug-ins, it requires one of the following host applications:
* Adobe Photoshop CS6 or Adobe Photoshop CC 2015 or newer
* Adobe Lightroom 6 or Adobe Lightroom CC 2015 or newer

System Requirements

Mac
* OS X 10.11 El Capitan or newer
* Intel Core 2 processor or newer
* Monitor with 1280 x 768 resolution or greater
* 8GB RAM minimum, 16GB recommended
* For GPU support, a recent (2015 or later) Metal compatible GPU with 2GB RAM is recommended

Windows
* Windows 10 64-bit or newer
* Intel Core 2 processor or newer
* Monitor with 1280 x 768 resolution or greater
* 8GB RAM minimum, 16GB recommended
* For GPU support, a recent (2015 or later) OpenCL compatible GPU with 2GB RAM is recommended

Articles: Digital Photography Review (dpreview.com)

 
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Sony’s new ‘Intelligent Vision Sensor’ is the world’s first to feature on-chip AI processing

20 May

Sony has shared the details of its new sensor array that it claims is the world’s first to feature artificial intelligence (AI) directly onboard the chipset.

Before diving into the details, it’s worth noting this sensor has been produced with industrial applications in mind, but as tends to be the case with much of Sony’s other sensor technologies, it’s not difficult to imagine seeing these AI-powered technologies in Sony’s smartphone and possibly even mirrorless camera sensors down the road.

With that out of the way, let’s dive into the details. The IMX500 is a 12.3MP (4056 × 3040 pixels) backside-illuminated 1/2.3” sensor capable of 4K/60p video capture that features a new stacked design that puts the pixel chip atop the logic chip. The stacked design means the data captured from the pixel chip can immediately be parsed via Sony’s AI processing directly on the logic chip.

Processing in the sensor not only removes the need for external hardware, it also means only the relevant data needs to be output, significantly reducing the amount of data that needs to be communicated to the cloud, reducing bandwidth and increasing speed. Sony says the new sensor can capture and process the image within 3.1 milliseconds when using the MobileNet V1 image analysis model.

IMX500 (left), IMX501 (right).

In addition to faster, real-time object-tracking and processing, this setup also allows the system to export either image data and information or information alone. The ability to export the AI-derived information alone adds an additional layer of security that could be added to scenes where privacy is critical.

Illustration from Sony showing how the data output format can be customized to meet various needs.

Again, Sony specifically mentions retail and industrial equipment use-cases for this new sensor technology, so it’s not likely we’ll be seeing this in consumer camera tech anytime soon.

The IMX500 (bare chip model) is expected to start shipping in April 2020 for 10,000 JPY (~$ 94), while the IMX501 (packaged product model) is expected to start shipping in June 2020 for 20,000 JPY (~$ 188).

Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad updates its desktop, mobile Phocus image processing apps

02 Apr

Hasselblad has released an update to its Phocus image processing applications for both desktop and mobile devices. Phocus 3.5 for desktop brings a number of new and improved features, while the Phocus Mobile 2 update is more incremental with only a few small changes.

Phocus 3.5

Phocus version 3.5 brings a number of new tools and features, including. Specifically, Hasselblad has added a new defringe tool for removing green and purple fringes. The tool will automatically detect and correct for fringing, but also offers manual controls for more precise edits. The brightness and contrast adjustments have also been updated with ‘enhanced algorithms’ that should create more precise tonal adjustments than previous versions.

Hasselblad has also added a new ‘Luma Mode’ to the curves tool for controlling the luminosity of an image with less impact on the colors of an image compared to using the RGB curve mode. Finally, to smooth things out, Hasselblad has increased GPU usage within Phocus 3.5, which should help increase performance, specifically when viewing and exporting high-resolution images. Hasselblad notes the ‘Extended GPU usage option’ must be active within the settings/preferences in order to get the boost from your computer’s GPU.

Phocus Mobile 2 version 1.0.1

Phocus Mobile 2 version 1.0.1 makes only a few changes. In addition to general performance improvements, Hasselblad has also added lens correction support for its XCD 45P and added the ability to zoom and scroll around images immediately after they’re loaded into the viewer within the app.

Phocus Mobile 2 is available on iOS and iPadOS. Hasselblad has an overview video walking through the core functionality of the app if you want to familiarize yourself with the app.

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Processing Black and White Images in Photoshop

15 Jan

The post Tips for Processing Black and White Images in Photoshop appeared first on Digital Photography School. It was authored by John McIntire.

tips-for-processing-black-and-white-images-in-photoshop

If you’re a lover of black and white imagery (like many of us photographers are), then you are probably aware of the many, many options there are for you to convert your images to black in white in Photoshop (and other software packages). Conversion is only the first step in processing black and white images. Once you have gotten rid of the color in your photos, you will still want to control and manage the tones in your images to get the best results possible. This article will introduce you to a few of these Photoshop tools that you can use to create images with impact.

Tools for processing black and white images in Photoshop

Global/Local Adjustments

Before jumping straight into the list of tools, it is important to differentiate between two different types of adjustments you can make to your images.

Global Adjustments – Global adjustments are adjustments that affect the entire image. For example, if you use the contrast slider in Lightroom, it alters the contrast in the entire image.

Global adjustments in processing black and white images.

As a global adjustment, this curves layer that was meant to bring down the highlights has affected the whole image and not in a pleasant way.

Local Adjustments – Local adjustments are made to specific areas of an image that you define. For example, you can adjust the contrast for a portrait subject’s eyes and the contrast for their shirt separately.

Local adjustments in processing black and white images.

Using a layer mask allowed for a local adjustment, meaning the curves layer only affected the mid-tones surrounding the subject’s face.

What this means for your images

These distinctions are important because, in most cases, you will want to avoid profound global adjustments on your images. Most photos are made of scenes of different elements. If you think of this in terms of portraiture, imagine a person standing against a studio backdrop, such as the image below.

Isolating areas of tonality in processing black and white images.

Dividing an image into areas of tonality and then making adjustments to those areas separately, gives you complete control over your images.

Here, you can divide the image up into several parts. You have the subject’s skin, eyes, shirt, hair, and background. Each of these elements reacts differently to various adjustments. By using global adjustments, you will alter the appearance of these elements at the same time.

For example, if you want to increase the contrast of the shirt by a large amount to help bring out the texture, then you will also be increasing the contrast of the subject’s skin. As a general guide, you usually don’t want to increase contrast on skin. More often than not, you will want to reduce it.

How do you go about increasing the contrast of a shirt while reducing contrast on the skin at the same time? Through the use of local adjustments.

Tools for applying local adjustments

There are a lot of ways to apply local adjustments to your images in Photoshop. Here is a primer on a handful of them.

The right tool for the job depends entirely on the job at hand. By learning how to use several of these options, you will arm yourself with a variety of ways to use local adjustments while processing black and white images.

Remember, this is an introduction to the various tools that you can use and not a full tutorial.

Layer masks

Layer masks are probably the easiest and most common way to get started with local adjustments in Photoshop. If you’re not already familiar with how to use this powerful yet intrinsic aspect of Photoshop, I strongly encourage you to spend some time reading up on and practicing using them as soon as possible.

A layer mask effectively blocks an adjustment layer (masks it) from affecting parts of the image that you don’t want it to.

Using layer masks in processing black and white images

Layer masks will help you to isolate specific areas of your image that you want to make adjustments to. Here, the subject’s hat is darkened.

In the example above, I made a Curves adjustment layer and filled the layer mask with black. Using a white brush (B) set to 100% opacity, I painted (with the layer mask clicked) over the subject’s eyes. Now, no matter what I do with the curves layer, it will only affect the area that I painted white in the layer mask.

Using this technique, you can create as many Curves adjustment layers as you want (or any other type of adjustment layer) with each one only affecting specific parts of the image.  This way, you are able to treat each element in your image with individual care.

Using layer masks in processing black and white images.

Here, you can see three separate curves layers with their own masks. Each one is doing a different job separately from the other. The first two are darkening areas of the image, while the top on is lightening the background.

Select Color Range

While you are working with your layer masks, it can sometimes feel tricky, or downright difficult, to separate specific areas of an image to work with. One technique that is useful in this situation is the Select Color Range tool (Select->Color Range). This tool works very well when trying to select skin and skies.

Select color range tool in processing black and white images.

Here, you can see what the Select Color Range tool will add to your selection when you click on the brightest part of the image and set the fuzziness slider to max.

Opening this tool will present you with a means to select a specific color range in your images that you can then apply to your layer masks. Because we are talking about processing black and white images, instead of selecting colors, you will be selecting a tonal range.

With the dialogue box open, simply click an area in your image that you want to select to work on. You can now use the slider labeled Fuzziness to adjust how much of the image within that range you wish to select. If you only want the very brightest highlights selected, click on the brightest part of your image and drag the fuzziness slider to the left. With the selection made, you can now create any adjustment layer and Photoshop will turn that selection into a layer mask.

Luminosity masks

For a far more complex option, you can use Luminosity masks.

There are a variety of ways to set these up inside Photoshop and with third-party plug-ins, so do be sure to research the various ways to go about it. Luminosity masks give you a ludicrous amount of fine control for processing your black and white images.

Luminosity masks in processing black and white images.

This is an example of what Luminosity Masks might look like when setting up in your images. I made the selection here with the ‘Light Lights’ mask. With all of these options to easily select specific tonal ranges, you should be able to see how powerful this is.

In brief, Luminosity masks grant you the ability to create layer masks for every tonal range in your image. They allow you independent control over the brightest of highlights, the darkest of shadows and everything in between. With this amount of control, you can fine-tune every part of your image to your heart’s content.

One word of warning though: leaving the Luminosity masks in your files results in very large file sizes. Consider deleting them before you save your images.

Tools for controlling tones

Now that you have a few options for selecting and isolating the various parts and tones of your images, there is a large selection of tools that you can use to manipulate the tonality (and other aspects) of your images.

Selective Color

The Selective Color adjustment layer is, probably, the easiest of these tools to get to grips with. Once you’ve created the layer, all that you have to do is find the drop-down box and choose either: whites, neutrals or blacks. (Because this article is discussing black and white images, you can discard all of the color options for now.)

Selective color in processing black and white images.

With the Selective Color tool, you have a fair degree of control over your highlights, mid-tones, and shadows. Just move the Black slider in the relevant box. This doesn’t give the amount of control that other methods do, but it’s quick and intuitive.

With any of those three options selected, find the slider labeled ‘Black’ at the bottom of the dialogue box. Dragging this slider to the right will darken the relevant tones. Dragging it to the left will lighten them. Do this with all three (whites, neutrals, blacks) for every part of your image, and you will have a great deal of control over the tonality of your images with very little effort.

As a bonus, if you’re still getting to grips with Layer Masks, the fact that the Selective Color tool adjust the highlights, mid-tones and Shadows independently within the dialogue box, means that you have a bit of local control over those three tonal ranges without having to use a layer mask at all.

Curves

The powerful Curves adjustment layer is another Photoshop staple that you should learn inside out early on.

By manipulating the curve in the dialogue box, you will gain absolute control over every minute aspect of contrast and tonal range in your image. Combine this tool with Layer Masks, and you have a solution that will get you through most situations.

Curves in processing black and white images.

Here you can see the image before I applied the Curves layer.

 

Curves in processing black and white images.

After applying the slightest of S curves, you can see just how much a difference was made to the image.

 

In terms of processing black and white images, the Curves tool will allow you to increase or reduce contrast as you see fit. Because it is a complicated tool with a lot of nuances (it will take a fair amount of time for you to get to grips with it beyond a simple S curve), do spend plenty of time practicing and reading up on how to get the most out of this tool.

Gradient Map

The Gradient Map tool is another complicated, but powerful, option for controlling the tones in your images. You can use the Gradient Map to do the actual conversion of your image to black and white, but that’s only the start. Note, that you can use the Gradient Map after you’ve done a conversion using any other method and that is what is being described here.

In the Gradient Editor (with the black and white gradient selected) you have a few options. Click on the slider at either side (the black or the white) and a mid-tone marker will appear. Dragging this left or right will adjust the position of the gradient and it will have a drastic effect on how the tones in your image appear.

Gradient map in processing black and white images.

With the black and white gradient selected in the Gradient Editor, you can see that there has already been a huge increase in contrast.

If you click anywhere in the middle of the gradient in the gradient editor, it will add another marker that you can use to set the tonal point anywhere in the gradient. This also gives you new midpoint markers between these points. Using these tools, you can control the contrast in the various parts of your images’ tonality in one fell swoop.

Gradient map in processing black and white images.

Circled in red, you can see the midpoint slider that will allow you to position the position of the gradient in terms of the tones in your image. Underlined, you can move these slider to control where the black and white point of the gradient starts. Move these inwards to increase contrast.

Combine these options with Layer Masks and you have yet another powerful tool that gives you complete control over how your final black and white images turn out.

Gradient map in processing black and white images.

By adding a third point in the gradient, you can control the exact tone that appears. It also gives you two midpoint sliders to play with.

The end

Tools for processing black and white images in Photoshop

Alongside other retouching tools, using these tools (on their own or in concert with one another) can give you a great deal of fine control over your black and white images.

With these tools, you should see that you have a lot of options when it comes to processing black and white photos after the conversion process. By taking full control of the tonality of your black and white images, you will be able to create images with plenty of impact and fine-tuned contrast. It’s important to note that the concept of local adjustments applies to a lot more than tonality and you can use them for any type of adjustment you can think of in Photoshop. For example, you can sharpen an area of fine detail (like hair) in your image for emphasis without applying that to your subject’s skin.

Do you have any other tips for processing black and white images in Photoshop? If so, please share them with us in the comments. Also, please try these methods out and share your resulting images with us in the comments section.

The post Tips for Processing Black and White Images in Photoshop appeared first on Digital Photography School. It was authored by John McIntire.


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DxO launches Nik Collection 2 with Raw processing and 40 new presets

07 Jun

DxO has released the latest version of its presets application and has added the ability to work with Raw files. The company says it discovered most of its users shoot in Raw and want to be able to work with these files in its programs, so DxO has included PhotoLab 2.3 Essential edition in the package. The software features a direct button that converts and sends processed Raw files directly to Nik Collection 2.

The Nik Collection interface sitting over the PhotoLab 2.3 window, using the Super Punch preset from the new En Vogue effects in Color Efex Pro

Previously, Nik Collection was available only as a plug-in for Adobe products, but with this new update, users will also be able to remain completely in the DxO environment without having to use Lightroom or Photoshop.

There are 40 new presets in the Nik Collection 2, which have been labelled ‘En Vogue’ to reflect their modern and fashionable looks. The styles are spread across the Color Efex Pro, Silver Efex Pro, HDR Efex Pro and Analog Efex Pro modules, and bring the total number of presets to 196. The included PhotoLab 2.3 application adds Raw support for a range of new cameras, including the Canon EOS RP and Olympus OM-D E-M1 X, and has 500 new lens modules. In total there are 47,500 camera/lens combinations to work with.

The Nik Collection 2 is available now with special prices of $ 99.99 for new users and $ 59.99 for those upgrading until the end of June. From then new users will pay $ 149.99, and those upgrading will pay $ 79.99. For more information see the DxO website.

Press release:

New Nik Collection 2 by DxO Offers Unmatched Creative Possibilities and RAW File Compatibility

DxO, one of the most innovative companies in the photography and image editing industry, has announced the release of the Nik Collection 2 by DxO, a major upgrade to the famous plugin suite for Adobe Photoshop, Lightroom Classic, and Elements. After bringing the Nik Collection back to the market with the software’s first stable version with customer support in June 2018, DxO is expanding the plugin suite with over 40 new creative presets and high-resolution monitor support for Windows. In addition, the Nik Collection 2 now comes with DxO PhotoLab 2.3 ESSENTIAL Edition, DxO’s recently released advanced RAW photo editing software.

Choose from more than 40 new “En Vogue” styles to create unique images with a single click.

The Nik Collection 2, which has gained a significant following for its high-quality, creative filters, has added 42 new “En Vogue” presets to its original set of 156: 10 new recipes for Color Efex Pro, 10 new black and white presets to Silver Efex Pro, 12 new HDR presets to HDR Efex Pro, and 10 new tool combinations to Analog Efex Pro.

The latest filters in the Nik Collection 2 will take your photos’ emotional impact to the next level. For example, “Blue Monday,” which is available in Color Efex Pro, combines the fresh look of subtle Varitone coloring, the visual interest of cross processing, and the softness of slightly desaturated effect. “More Silver,” which is available in Silver Efex Pro, pairs the crispness of silver toning with a fine grain, resulting in black and white photographs that feature a level of balanced contrast typically achieved through darkroom techniques. Photographers who would like to add a bit of nostalgia to their images can turn to “Burned Edges,” in Analog Efex Pro to reproduce the burned-edge, vignetting, toning, and framing effects typical of old-fashioned analog cameras.

The “En Vogue” series was created in collaboration with Dan Hughes, a highly respected lecturer of photography at Rochester Institute of Technology and a former instructor with Nik Software. “I was honored to be a part of the expansion of the Nik Collection by DxO,” he said. “The plugin suite has helped promote the art of photography, and the addition of new effects has significantly increased its potential by offering all photographers new creative opportunities.”

Improved high resolution display with Windows

To better meet users’ needs, the Nik Collection 2 now supports high-resolution monitors (HiDPI) with Windows. The graphic elements of the Color Efex Pro, Silver Efex Pro, HDR Efex Pro, and Analog Efex Pro plugin interface have been improved to ensure flawless readability when viewed through high-resolution monitors—just like with the macOS version.

All the potential of RAW files within an optimized workflow

DxO’s recent surveys of Nik Collection customers revealed that nearly all users work in RAW. To help them harness the full power of this file format, the Nik Collection 2 by DxO now comes with DxO PhotoLab 2.3 ESSENTIAL Edition, DxO’s advanced and multiple award-winning photo editing software. The software has been adapted to offer users direct access to the plugins from their workspace via a dedicated button and drop-down menu. After the image is edited in DxO PhotoLab 2, it can be quickly converted and sent to one of the Nik Collection plugins, where the photo can be further altered and enhanced with creative effects.

“By offering our advanced photo editing solution along with the Nik Collection 2, we are giving users access to DxO’s powerful and high-quality RAW treatment technology as well as its unparalleled optical corrections, which were developed over fifteen years of measurements and analyses conducted in its laboratory,” said Jean-Marc Alexia, VP Product Strategy and Marketing with DxO. “DxO also offers high-quality de-noising capabilities, smart exposure optimization with DxO Smart Lighting, and U Point local adjustment technology, which is now available for use with RAW images.”

DxO PhotoLab 2.3: support for new cameras

On top of providing access to Nik plugins directly from the software’s workspace, DxO PhotoLab 2 continues to support new equipment. In addition to adding support for Leica M 10-D and M 10-P, Nikon D3500, Panasonic Lumix DC-S1, DC-S1R, LX100 II, Sony A6400, and DSC-RX100 VA, DxO PhotoLab 2.3 can now process files from Canon EOS RP and Olympus OM-D E-M1 X. It has also added more than 500 new optical modules to its library, bringing its total number of camera/lens combinations to 47,500.

To read the full list of all devices supported by DxO PhotoLab 2.3, visit: https://www.dxo.com/en/dxo-photolab/supported-cameras/

Price and availability

The Nik Collection 2 is now available for download on the DxO website (https://shop.dxo.com/en/photo-software/dxo-nikcollection) for $ 99.99 instead of $ 149, and $ 59.99 instead of $ 79 for the upgrade until June 30, 2019.

The ESSENTIAL and ELITE editions from DxO PhotoLab 2.3 are now available for download on the DxO website (https://shop.dxo.com/en/photo-software/dxo-photolab) for $ 129 and $ 199, respectively. DxO PhotoLab 2 users can download this upgrade for free.

Articles: Digital Photography Review (dpreview.com)

 
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An Easy Hack for Shooting into the Sun and Processing the Images

02 Jun

The post An Easy Hack for Shooting into the Sun and Processing the Images appeared first on Digital Photography School. It was authored by Adam Welch.

Whether you’re shooting landscapes, street photography, outdoor portraits, or just making a photo of your cat lounging in the window, a great many photos have one thing in common – sunlight. Yes, that big burning ball of fire in the sky can either ruin your photos or make them memorable. Some photographers enjoy the look of the sun shining brightly in the sky with radiant starbursts and flare while others do not. However you happen to feel about it, you will often find it necessary to shoot directly into bright sunlight.

shooting-into-the-sun-digital-photography-school-adam-welch-1

I’m going to show you an easy way to deal with the invasive (yet often rewarding) circumstances of making a photograph when the sun is burning bright directly towards your camera. All this is done without the need for filters and is easily accomplished with some simple work in Photoshop.

Warning: Remember friends, the techniques shown here are intended to help you work in conditions faced when shooting into the sun as it relates to commonly encountered photographic conditions. Prolonged exposures aimed at the sun may damage your camera and purposefully staring directly into the sun will permanently damage your eyes. 

Shooting your images

First things first. You will need at least two photos of the same scene but shot with different exposures. Keep in mind that two photos are the MINIMUM required; one for the foreground elements and one for the desired brightness of the sun. Depending on the complexity and contrast of your scene, it is a good idea (as I’ve done here) to have additional exposures to help your final image look realistic.

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch-3

If you prefer a prominent “starburst” effect for the sun, it’s a good idea to use a relatively small aperture (large f-number) for at least one of your images. Since we’ll be blending multiple photos together, it is crucial that each of them align as closely as possible. So, of course, using a stable tripod is integral to the outcome of your photograph. I know, I know…you’ve heard it a thousand times.

Try this cool trick

Before we move on to how to actually blend our images together, I want to tell you about an incredibly neat trick to help you reduce lens flare and get a much cleaner result when shooting directly towards the sun. You might have noticed one of my images has a big fat thumb right in the middle of the frame? This is not by accident.

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch

What this allows us to do is block out the most direct light rays so that we have a good spot to blend in the sun from our drastically underexposed photo. Not only that, but it helps to greatly reduce (not always eliminate) the lens flare artifacts which commonly rear their head in these types of photos. It will all make sense in just a second.

Combining the images

As I’m sure you’ve already noticed, the actual acquisition of the photos you need is a very simple operation. The magic lies in how we handle those images in Photoshop. We can bring our images directly into Photoshop, or as I prefer, work with them first in Lightroom and then kick them over to Photoshop as layers. This saves time and makes things much easier, especially if working in Photoshop is new to you. Make sure you don’t crop any of the photos!

Open images as Layers in Photoshop

To open up your images as layers in Photoshop from Lightroom, make sure all of your photos are selected and then right-click on any images. Select ‘Edit In’ and then choose ‘Open as Layers in Photoshop.’

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch-3

Once Photoshop launches, you will see all of your photos presented as layers in the Layers Panel.

Arrange the layers by dragging and dropping them into place. Sort the layers where the sun blocked with your thumb at the top. Proceed downward by order of decreased brightness with the darkest image at the very bottom.

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch-3

Auto-Align Layers

Even though we’ve done our best to make sure all of our photos are composed identically, it’s a good practice to allow Photoshop to help out with aligning the layers. That way, they fit as closely as possible to avoid misalignment. Doing this is a snap (Photoshop humor) using ‘Auto-Align Layers.’ Make sure all of your layers are selected either by Ctl+click or Cmd+click (Mac).

If you have a large number of layers, a quicker way to select them all would be to highlight the top layer and then Shift+click the bottom layer (or vice versa). Once all your layers are selected, select ‘Edit’ and then ‘Auto-Align Layers.’

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch-3

Leave the alignment projection set to ‘Auto.’

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch-3

After Photoshop is finished cooking up those layers into better alignment, you might notice a small perimeter border around your image. This is due to Photoshop aligning the layers. Don’t worry; you can crop it out later.

Add Layer Masks

You’ll need to incorporate layer masks so that you can paint in and out our layers as you go. Select each layer and add a mask by clicking the layer mask icon. There’s no need to apply a mask to the bottom-most layer in the stack.

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch-3

For a refresher course on working with layer masks check out this article by Jim Hamel.

Blend the Layers

Now that we have masks added to all of our layers, it’s time to start blending. We’ll start with the sky and remove the obvious digit from the photo. Since the layer mask is set to white, make sure you are painting with black. If you get confused, remember the old adage “black conceals, white reveals.”

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch

Even working with this small number of layer masks can get somewhat unwieldy. I recommend you merge each layer with the next after you’ve finished blending each portion of your photo.

To merge your completed layers, simply highlight them and use keyboard shortcut Ctl+E (Cmd+E for Mac). This helps avoid any conflicts with your masking. Blend your layers as needed based on your particular photos.

After each layer merge, be sure to add a layer mask to the resulting layer.

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch

Eventually, you should have two layers remaining.

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch

It’s here where things can get a little tricky because you will likely be dealing with blending your starbursts with a darker surrounding sky. Just take your time. It’s a good idea to set your brush to a low flow rate of 10-15 and your opacity to around 15 to start. Then gradually build up the effect. A soft brush is definitely required here.

And ta-dah!

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch

With just a little bit of blending, we’ve successfully combined our four images of the sunset. Before leaving Photoshop, I went ahead and removed those few flakes of dust as well as the remaining lens flare artifacts that managed to escape my thumb. After you save your changes and close Photoshop, the newly blended photo will be thrown back to Lightroom for cropping and some final tweaking.

Lightroom-Photoshop-shooting-into-the-sun-digital-photography-school-adam-welch

Some final words on overcoming the sun…

There are multiple ways to work around shooting directly into the sun to get great photos. Most involve various filters and careful positioning.

With a little basic knowledge of Photoshop, you can forgo the extra equipment and achieve results which are arguably as good or better than more traditional photographic methods.

This is especially helpful if you happen to be using a camera that sports less than spectacular dynamic range. Sure, you shouldn’t view this technique as a replacement for practicing solid photography techniques, but instead, it provides a way for us to easily bring home the photo we want at the end of the day.

Not too comfortable with Photoshop? We’ve got you covered!

Make sure to check out some of the great resources here at Digital Photography School which will teach you all you could ever wish to know about working with layers, blend modes and masking in Photoshop.

We’d love to see the images you create from this tutorial. Please share with us and the dPS community in the comments below!

 

The post An Easy Hack for Shooting into the Sun and Processing the Images appeared first on Digital Photography School. It was authored by Adam Welch.


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RawTherapee 5.6 adds new Pseudo-HiDPI mode, ‘unclipped’ processing and more

23 Apr

Cross-platform Raw image processing program RawTherapee has announced its most recent update, version 5.6, which brings along new features and tools to improve the image editing experience.

The flagship feature in RawTherapee 5.6 is new Pseudo-HiDPI support that now makes the interface appear smooth and sharp across various displays regardless of screen size or resolution. The RawTherapee team says Pseudo-HiDPI is enabled by default and uses the font size, DPI and display settings from your computer to to create the best image possible.1

An illustration provided by RawTherapee highlighting the new Pseudo-HiDPI mode.

A new ‘Unclipped’ processing profile has also been added ‘to make it easy to save an image while preserving data across the whole tonal range.’ RawTherapee 5.6 also has a new user-adjustable tiles-per-thread setting ‘for users who want to find optimal values for their system.’ Hundreds of other overall improvements have been made as well behind-the-scenes for improved performance.

RawTherapee is free to download for Linux, macOS and Windows computers. The developers behind RawTherapee have created a helpful Wiki to explain the tools as well as a ‘Getting Started’ article to help kickstart anew users


1 It’s worth noting though that there have been issues with certain macOS display settings interfering with the Pseudo-HiDPI mode though, so if you run into any issues, it might be best to turn this feature off for the meantime.

Articles: Digital Photography Review (dpreview.com)

 
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Pixelmator Pro 1.2 brings smart photo enhancements, batch processing and more

18 Oct

Pixelmator today released Pixelmator Pro 1.2 Quicksilver, a major update to its image editing app that brings support for macOS Mojave, machine-learning-powered automatic photo enhancement, and batch image processing among other new features.

“Users love Pixelmator Pro for making such powerful image editing tools so incredibly easy to use,” said Saulius Dailide, one of the founders of the Pixelmator Team. “And the new ML Enhance is our most powerful feature yet — it lets you dramatically improve the look of any photo with a single click, thanks to a machine learning algorithm trained on millions of professional photos.”

The new ML Enhance feature automatically adjusts color and exposure locally in the frame. The goal is to give the user an optimized starting point for their own edits. The feature was developed using a set of millions of photos to train the machine learning algorithm which analyzes photos to detect objects and scenes and applies the adjustments.

There’s also a new option to use a light-colored user interface in addition to a refresehed version of the dark theme, allowing for easy adaption to the light and dark modes in macOS Mojave. The app is also capable of automatically switching to adapt to the current appearance of macOS.

A lot of the new and existing features can now be applied via the Automator batch processing tool, making work with large numbers of files less stressful. Other improvements include support for colorful SVG Fonts, a Continuity Camera camera, an Eraser Mode for the Pixel Paint tool, as well as a range of performance improvements and bug fixes.

Pixelmator Pro 1.2 Quicksilver is available from the Mac App Store and can currently be purchased for $ 29.99, 50% off the regular price. More information is available on the Pixelmator website.

Press Release:

Pixelmator Pro gets major update with AI-powered photo enhancement tools

Vilnius, Lithuania — October 18, 2018 — The Pixelmator Team today released Pixelmator Pro 1.2 Quicksilver, a major update to the fast and powerful image editor for Mac. The update adds support for macOS Mojave, including an all-new light appearance, Core ML-powered automatic photo enhancement, batch image processing via the Automator app, and much more.

“Users love Pixelmator Pro for making such powerful image editing tools so incredibly easy to use,” said Saulius Dailide, one of the founders of the Pixelmator Team. “And the new ML Enhance is our most powerful feature yet — it lets you dramatically improve the look of any photo with a single click, thanks to a machine learning algorithm trained on millions of professional photos.”

The new ML Enhance feature in Pixelmator Pro automatically enhances photos — balancing the colors, evening out exposure, and making changes to individual color ranges — to give you the best starting point for making your own creative edits to a photo. Powered by Core ML and developed using a carefully refined set of millions of professional photos, the machine learning algorithm analyzes photos to detect the objects they contain, then enhances their colors and brings out missing details, leaving the final creative touches to the user.

The update also brings the option to use a gorgeous light appearance, giving users an entirely new way to experience Pixelmator Pro. In addition, Pixelmator Pro 1.2 Quicksilver includes a refreshed, much more native dark appearance, so the app now adapts seamlessly to the light and dark modes in macOS Mojave. And with automatic switching, Pixelmator Pro instantly updates to match the current appearance of macOS.

Automator support and five powerful, versatile actions now makes it possible to batch process images using the professional editing tools available in Pixelmator Pro. The Auto Enhance Images action uses the new ML Enhance feature to automatically improve photos, Auto White Balance Images automatically corrects white balance, Apply Color Adjustments to Images and Apply Effects to Images makes every single color adjustment and effect in Pixelmator Pro available in Automator, and Change Type of Images makes it a breeze to convert batches of images from one file format to another. So now, working with large sets of images and making repetitive edits becomes effortless.

Pixelmator Pro 1.2 Quicksilver includes many other improvements, including support for colorful SVG Fonts, the new Continuity Camera, an Eraser Mode for the Pixel Paint tool, as well as a range of additional performance improvements and fixes.

Pricing & Availability

Pixelmator Pro 1.2 Quicksilver is available exclusively from the Mac App Store and is currently on sale for $ 29.99, 50% off its regular price.

Pixelmator Pro requires macOS High Sierra and a Metal-compatible graphics card. Full system requirements and more information on Pixelmator Pro can be found at www.pixelmator.com/pro/

Articles: Digital Photography Review (dpreview.com)

 
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Canon brings its Digital Photo Professional Raw processing program to iOS

10 Oct

Canon has ported a large chunk of its Digital Photo Professional (DPP) Raw processing software’s feature set to mobile and launched the DPP Express app for Apple’s iPad.

The new app works in conjunction with Canon’s Camera Connect app and offers a wide range of processing functions for Canon .CR3 Raw files and JPEG images. Files can be viewed, adjusted and saved to the cloud, a computer or your camera – all wirelessly.

The Camera Connect app, which also allows you to control the camera remotely, is used to wirelessly download images from your Canon camera to the iPad. Once on the tablet, images can then be processed and edited in DPP Express. The user interface has been designed with simplicity in mind and adjustment options include tone curves, picture settings, gamma levels and lens correction. All changes are applied in real time.

DPP Express also offers Multiple Editing Histories, allowing for several edited versions of the same image. Up to four editing histories let you compare effects and editing options on the same image and can be copied and pasted between files to apply the same workflow to more than one image.

The app is compatible with newer iPads and iPad Pro models running iOS 11. For more information on compatibility and features have a look at the Canon website. You can download DPP Express from the iOS App Store.

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Portrait Processing with ON1 Photo RAW 2018.5

11 Sep

There are many genres within the framework of photography and one that is very popular is portraits. As such, many photographers are looking for great software that can help them make their portraits so much better. ON1 Photo RAW 2018.5 has some great tools and adjustments for portrait processing to give them a professional touch.

In ON1 Photo RAW 2018.5 you will find all the tools you need to retouch out blemishes or any imperfections that the person or model may have. You can give the skin the same hue all over to get rid of blotchiness. Finally, you can make the eyes whiter and the teeth brighter. Your subjects will love the results.

Tips for Portrait Processing with ON1 Photo RAW 2018 - portrait image

Portrait processing with ON1 Photo RAW

We are going to start with the basic skin retouching before heading to the Magic Eye Fixer and finally the Toothbrush.

Basic Retouching

Open the image you want to work on in the Develop Module of ON1 Photo RAW 2018.5. Here you can make the basic adjustments like correcting the exposure or the white balance. Play around with the sliders to get what you want.

You can see what was done to this image below.

Tips for Portrait Processing with ON1 Photo RAW 2018 - basic adjustments

Basic adjustments.

No girl wants to be seen with acne on her face, so the next step is to get the Erase tool and remove as much of it as you can.

Tips for Portrait Processing with ON1 Photo RAW 2018 - blemishes

There are still blemishes on and around the chin, so now it is time to take it a step further with the skin retouching. ON1 Photo RAW 2018.5 has some great adjustments you can use to do just that.

If you are working on images of people that you know or clients, consult with them first about what they are happy with you removing from their skin. It might be good to remove scars, for example, however, if they are proud of those scars, it might upset them. Always ask.

Skin Retouching

You can do skin retouching in either the Develop or Effects modules. For this article, we will use the latter so click on Effects in the right-hand panel.

Once you are there click on Add Filter under the Overall settings.

Tips for Portrait Processing with ON1 Photo RAW 2018 - Effects Add Filter

Effects > Add Filter

When you click on that you will get a big list of options from which you can choose. For this tutorial, click on Skin Retouching.

Tips for Portrait Processing with ON1 Photo RAW 2018 - skin retouching filter

Skin Retouching filter.

You should see a new window open up that has all the adjustments for Skin Retouching. The first thing you want to do is select the eye dropper that is next to the square color patch. You will see a cross-hairs cursor so that you can make a selection on the skin.

Tips for Portrait Processing with ON1 Photo RAW 2018 - skin selection

Choose a part of the skin that is somewhere in between the darks and the lights. A mid-tone is the best option and a good place to find that is on the forehead.

Once you have your selection you are ready to retouch all the skin. You can now set the range of how much you want to do on the face. Use the Range slider at the bottom.

As you move it around you will see parts of the image that are covered in black while others are now. The black parts will not be affected, which as the lighter sections and places where it doesn’t cover it you can use the skin retouch. It doesn’t hurt to move it up a lot.

As you move the Range slider along you will see parts of the image covered in black while other areas are not. The black parts will not be affected by the retouching. However, the light sections, or the parts of the image that seems like they are not being affected, is where the skin retouching will apply to the image.

It doesn’t hurt to move the Range slider up a lot.

Tips for Portrait Processing with ON1 Photo RAW 2018 - range of skin retouching

Add a Mask

Next, you need to add a mask. You can do that at the top of the layer window, it is the white rectangle with the black circle inside.

You will see more options appear and along with the mask. The cursor will also change and the brush will come up automatically once you have done that.

Tips for Portrait Processing with ON1 Photo RAW 2018 - mask and brush options

Once you have the mask, go ahead and invert it. When you do this the mask will go black. When it is black it means that nothing from that layer is affecting your image. The brush is already chosen and now it is time to work out what parts of the image you want to add the skin retouch.

Make sure you brush is set to Paint In. You can change the brush options including feathering along the top above the image. You don’t need a lot, my brush was set at 31.

Now paint over the skin you want to affect. You should see parts of the mask going white where you are painting. Avoid the eyes and the mouth.

leannecole-skin-retouching-on1-portraits-6

Once you think you have done all the skin it is best to check and make sure.

Along the bottom of the window, you will see the button for a preview. Press it to see your original image. However, on the left, you will see a rectangle with a grey dot in it. If you click on it you will see the image go to solid black and white.

Tips for Portrait Processing with ON1 Photo RAW 2018 - mask

This shows you what your mask looks like. Pressing the letter O does the same thing if you like keyboard shortcuts. It can be hard when it is like this to really see what you have got painted and what you haven’t.

Go up the Main Menu > Masks > View Mode and finally choose Red Overlay.

Tips for Portrait Processing with ON1 Photo RAW 2018 - red mast overlay

The red overlay will show you where the black part of the mask is (the unaffected areas), so you can now refine your mask.

Tips for Portrait Processing with ON1 Photo RAW 2018 - red overlay mask

In the above image, you can see what has been selected. The areas with no red are where the skin retouching will be applied. If you have areas that should be red, change your brush to Paint Out and it will cover them.

Click the circle at the bottom to change back to the image, or press O to show it.

The skin retouching can seem very subtle, but if you toggle the layer on and off you should be able to see the changes.

Tips for Portrait Processing with ON1 Photo RAW 2018 - toggle layer

Final Adjustments

Now to do some final adjustments. At the bottom of the layer you can see Blemishes, Smoothing, Shine and Evenness. Move all the sliders to the left.

Tips for Portrait Processing with ON1 Photo RAW 2018 - sliders at the bottom

Slowly move each slider up and see how they change the image. Take them all the way to the right to see how bad would be if you go too far, then bring them back to where you want.

The one you have to be really careful about is the Smoothing slider. You can make the skin look like plastic very easily. You can see what was done for this image in the following example.

Tips for Portrait Processing with ON1 Photo RAW 2018 - sliders adjusted

The next step is to again turn the layer off and on to see the results and whether you think it has improved the image.

Tips for Portrait Processing with ON1 Photo RAW 2018 - skin retouching before and after

Magic Eye Fixer

The Magic Eye Fixer is great to help whiten the white parts of the eyes. It can make the subject’s eyes seem a lot brighter. However, this one needs to also come with a warning, it is very easy to take it too far and make the eyes look ridiculous.

To use this tool, go to the Local Adjustments tab and then select Add Layer.

Tips for Portrait Processing with ON1 Photo RAW 2018 - new layer

In the new layer window, you will see options like Lighten, Darken, Vibrance, and Detail across the top (just below the Opacity slider). Then there is a square with a down-arrow that says More underneath. Click on it and a drop down menu will appear.

Look down the list and you will see Magic Eye Fixer. Click on that.

Tips for Portrait Processing with ON1 Photo RAW 2018 - magic eye fixer

Once you have clicked on it you will see some of the adjustments change automatically. The brush tool will also be automatically selected. Paint over the eyes.

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Obviously with the automatic changes that ON1 Photo RAW makes for the adjustments are too much. You may also find it too hard to paint exactly over the eyes. Don’t forget you can change the brush to Paint Out to deselect the areas you don’t want if you mess up.

Enlarge the image view so you can get a better look at what you are doing; make sure you are only changing the parts you want to affect. You can also press O to check the mask as well.

Tips for Portrait Processing with ON1 Photo RAW 2018 - masked eyes

You can see that the adjustment is too much. Now you can change the exposure slider to make it look more natural. You can also use the Opacity slider at the top of the layers panel. That will also help you tone down how much the layer affects the image.

Tips for Portrait Processing with ON1 Photo RAW 2018 - eye settings

You can toggle the layer off and on to see if you like the effect or want to make further adjustments. Just remember not to go too far.

Healing the Skin

You could leave the image here, but there are other things you can do to make the skin look even better.

In the left-side panel, there is a brush called the Retouch Brush. This is a good one to use to help remove unwanted skin blemishes. It softens them, without removing them completely.

Tips for Portrait Processing with ON1 Photo RAW 2018 - retouch brush

Paint this Retouch Brush over the areas where you would like to remove imperfections. For this image, we will use it for the bags under the eyes, the scar on the forehead and the one over the right eye. It will also work well for the acne marks on the chin.

The brush is feathered and the opacity has been changed to around 50%.

Tips for Portrait Processing with ON1 Photo RAW 2018 - after retouch brush

After the Retouch Brush

It is a great tool, but as with all things, you can go too far. Sometimes it is good to leave the image for a day or two, then go back and take another look. It gives you a better perspective.

Whitening Teeth – Toothbrush

You will find that many people like to have their teeth appear whiter in photos. We aren’t all blessed with brilliant white teeth and now you can help them achieve that. ON1 has included an adjustment that will help you do the job very easily.

So still in the Effects Module, go to Add Layer. As you did for the Magic Eye Fixer, click More and select Toothbrush this time.

Tips for Portrait Processing with ON1 Photo RAW 2018 - toothbrush

You will see a new layer open up with many adjustments already made, so it is ready for you to go.

Tips for Portrait Processing with ON1 Photo RAW 2018 - preset adjusments

Do much the same as you did for the eyes. Click on the mask and then the brush will come up. Paint over the teeth. It may be easier to do them one at a time. If you go outside the teeth click on the brush to Paint Out and go over the areas you don’t want affected.

The teeth should be very white.

Tips for Portrait Processing with ON1 Photo RAW 2018 - overly white teeth

Obviously, it looks terrible like this so you will need to make further adjustments to get the right look.

You can change the opacity of the layer, or turn down the exposure slider so the effect isn’t so bright. For this image, I changed the exposure because there was something else I wanted to do.

These images are of my daughter, who has never thought looking after her teeth were worth worrying about. So, I wanted to get rid of the yellow staining. The best way to do that was to lower the saturation so the teeth appeared whiter. Move the Saturation slider to the left until you get the result you are happy with.

Tips for Portrait Processing with ON1 Photo RAW 2018 - teeth whitening

Now we can compare the final image by turning the layer on and off. You do that by clicking the Yellow dot in the top left corner of the layer panel you are working in.

Tips for Portrait Processing with ON1 Photo RAW 2018 - layer off

Layer off.

Tips for Portrait Processing with ON1 Photo RAW 2018 - resulting image

Layer on, final result.

The image could be left there, but I decided that her face and hair could do with some brightening overall. So I choose a new layer, and did a mask with her face, that included her hair. The exposure was brought up slightly and so was the White balance to make the image warmer.

Tips for Portrait Processing with ON1 Photo RAW 2018 - lighten the image

Looks much better now. She even likes it as well.

Finally

ON1 Photo RAW 2018.5 has everything you need to do the most amazing portrait processing. You can give people skin that is attractive or remove unwanted hues that the camera adds. Everyone wants to look beautiful in photos and now you can help them look the way they see themselves.

The people at ON1 have created an amazing community for all their users and there are many other videos to help go to the next level. Don’t forget to check all of them out and see what else you can do with your portraits.

Disclaimer: ON1 is a paid partner of dPS.

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