Luma Key Photoshop
Akinlolu Bellotti
02. For camera profiles to give us the option to choose Base Tone Curves contrast option. (A curve that is integrated into the camera profile).
For example:
When I choose a standard camera profil (my camera profile not adobe, canon standar, or portrait etc.) I gets too much contrast, the shadows are too dark and saturated (I tested other cameras as well).
So in the beginning, we lose the ability to make the most of the dynamic range of our cameras.
So make it an option to choose between: Strong contrast, contrast, slight contrast and linear.
By adding this option sliders that already exist the contrast, highlight, shadows, whites, blacks will have a greater/better effect and maximize the dynamic range of our cameras.
So, no confusion, I'm talking about the contrast already integrated into the camera profile by adobe engineer. For now, I fix this deficiency by creating 4 camera profiles with the aforementioned contrasts in the DNG editor and importing those profiles into LR and ACR.
3. Give us the option that we can use curves and HSL in brush and gradient.
Hope this post will reach the right people,
Thank You,
Milenko
Adobe wants all product suggestions posted in the official feedback forum:
_family/categories/photoshop_family_photoshop_lightroom
Product developers read everything posted there, but rarely participate here, which is primarily a user-to-user forum.
I work for a production company full time and do photography on the side, and one feature that I can't believe Lightroom doesn't have that most, if not all NLE's (and even photoshop) is the ability to adjust Luma vs Saturation
I am certainly not a colorist, but one adjustment that I regularly make is slight desaturation in the speculator highlights and blacks, allowing me to push the colors a bit further and getting better color depth.
Other than routing every single picture through photoshop, is there any way to achieve this through Lightroom (even a third party plugin)? If not, I would love to see this in updated versions of Lightroom and Lightroom Classic
This works best if you create a new view window of the same document, and align both windows side by side.
Each window can have its own channel display setup. So, for example, the window on the right can be used to inspect luma and chroma (combined a&b) channels.
Dear all, I would like you to implement the "Luma" noise reduction or Luminance noise reduction option in the raw development module since I tried it in the Raw Power program for iOS and it's amazing, I think you can implement that option in a future update ?
It's already there. Tap on detail and scroll down. The slider labeled "noise reduction" does luminance noise reduction and further down you'll find color noise reduction which does chroma noise reduction. In the desktop apps luminance is more clearly labeled as there is not enough space on the phone screen but they are the same thing.
I see that it works differently in Lightroom mobile, for example when I apply noise reduction this smoothes the image a lot in all areas of my image in general, on the other hand in raw power when I apply luma noise reduction this only reduces the noise in the parts of the image where there is luminance noise, but preserving the detail of the rest of the image
Noise reduction differs amongst tools but Lightroom's is quite good. You need to use not just the amount slider but also optimize the other two for your specific image. This can only be done zoomed to 100%. A quick google shows lots of tutorials on how to do this.
After looking through the info that I report below I still wonder: ? but in Photoshop what is the correct (or best) method to display only the Luminance of the colors while maintaining their Brightness?
Adobe has a more basic explanation on Grayscale, or rather it does not explain the perceptual principles of this color method, but there is some interesting information elsewhere. Is this info compatible with what happens in Photoshop? If so, how would "Intensity" translate? Where could we learn more about it?The Importance Of Grayscale
Grayscale is a well-known technology, but it is not commonly used to display images. Because grayscale images measure intensity rather than color variation, they are commonly used in SEM / AFM and other non-visible light microscopes. Scientists and technicians can measure the color shade between products and the samples or pieces in production with grayscale images, allowing them to more accurately evaluate color differences between samples and finished products. -to-convert-a-photo-to-grayscale-in-photoshop/
The average method is simple but doesn't work as well as expected. The reason is that human eyeballs react differently to RGB. Eyes are most sensitive to green light, less sensitive to red light, and the least sensitive to blue light. Therefore, the three colors should have different weights in the distribution.
Do the interactions that can be achieved with the Hue / Saturation / Lightness options require transformations from the RGB color space to the HSL / HSV color spaces and then back to RGB? Is this why the luminance of the tints does not remain uniform with this method?"The HSI spaces are useful for image processing because they separate the color information in ways that correspond to the human visual system's response and also because the axes correspond to many physical characteristics of specimens. One example of this is the staining of biological tissue. As a useful approximation, hue represents the stain color, saturation represents the amount of stain, and intensity represents the specimen density. Similarly, in remote sensing images the hue often identifies land use (crops, water, urbanization) while the intensity variation arises from the local sun angle and the shadowing by clouds. But these spaces are awkward ones mathematically: not only does the hue value cycle through the angles from 0 to 360 degrees and then wrap around, but also changing the intensity or luminance alters the saturation ". The Image Processing Handbook, Seventh Edition
About the formula of the desaturation command in Photoshop they say this about Stackoverflow. Which desaturation method would this formula refer to?? "The real Photoshop desaturated formula is average of minimum RGB and maximum RGB components". ? "I believe HSL operations in Photoshop are run in min-max-hue space, so this formula is chosen for speed."
B. In the Capture Monkey site the desaturation method is missing, with which an achromatic color is used with the "Color" blending method. But in comparison with the Grayscale and Lab method (only the luminance channel) even with this approach the luminances of the hues are altered, but after all this round which is the correct one to use?
Adobe says: Color - Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images. -modes.html
There is no way around the fact that modern digital photography and retouching carry with them a significant amount of technical considerations that an artist should not avoid. Refusing to learn some of the technical aspects in either will hold you back from your full potential as a photographer, simply because these art tools were borne from digital technology and demand (some) technical knowledge to leverage them properly. With that said, in this article I am going to discuss some concepts regarding using Photoshop to select skin tones quickly and more accurately, the technical reasons behind it, and why it may benefit you to learn and understand it.
These three terms are most commonly used when describing or determine a color in the digital space. While there are several ways to describe a color in the digital space (we are going to gloss over all the other different color modes, color models, color profiles, etc. for this article, and stick to HSB) most people are pretty comfortable understanding the concept of how hue, saturation and brightness describe a color.
Open a blank document. Select the purest red possible (H: 0, S: 100, B: 100) and fill your document with it. Use the marquee tool to capture half of the document(give or take) and use Command/Control-I to invert the selection (be sure to deselect with Command/Control-D when done.)
Add a Brightness & Contrast adjustment layer with the idea of increasing overall contrast on your image (or area of an image) and the same things happens as with the Curves mentioned above. Can be resolved the same way, too: change your blend mode to Luminosity.
Pretty wild looking, right? This type of chroma layer shows the color data in hues (pretty obviously seen) but the saturation is now depicted from neutral grey (0% S) on up to maximum saturation (100% S) of whatever given hue, and everything in between.
Doing a Subject selection first also lets you quickly modify your subsequent skin tone mask to remove hair or errant areas of wardrobe, since Photoshop did a lot of the hard work for you. Either way, the skin tone mask created with chroma almost always yields a more accurate (read: useful) result, instantly.
You can do a lot in Photoshop when you separate chroma, or simply approach it independently of luma, and this skin tone selection trick is just the tip of the iceberg. (Another super useful example is leveraging chroma and luma data independently when you are using frequency separation for skin correction.)
When you have a RGB image, you can easily compute statistics for each of the image channels, as their average or variance values. The question is How we can merge those values to get those statistics with respect to the whole image and not just each single channels? We will also see how Adobe Photoshop make these calculations, the pros and cons of the different formulas they use for the two possible modes it has to compute them: "RGB" and "Luminosity".
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