From the Daylight preset, I felt more warmth was needed (which is often the case unless you’re looking for a cold effect). The tone mapping consisted of adjusting Exposure and Contrast higher, Highlights lower, Shadows up, and Whites and Blacks down.
Because the overall Graduated Filters darkened down the mane of the horse too much, I came back with an Adjustment Brush to relighten areas of the mane.
A global white balance correction may be fine most of the time, but sometimes you may need to modify the white balance locally.
The new addition to the Tone Curve panel provides the ability to use per-channel color curves for color correction.
The length of the sunset shooting times in the Lamaire Channel are what led my friend and colleague Seth Resnick to coin the term major gigage, because of the vast number of captures shot by everybody on the ship. I adjusted the WB from the As Shot setting and increased the global Exposure, Contrast, Highlights, and Shadows to adjust the tone mapping.
To achieve the results I wanted, I placed a point at about the ¼ position in the Red channel and raised it to make the highlight gain red. The final results are actually more along the lines of what I think I remember from being there. However, if you fly to London and then drive to Edinburgh to do some shooting with a friend, you aren’t going to be sleeping in late in your hotel room, are you?
To finish off the color adjustments, I used a Split Toning panel adjustment to warm up the highlights and cool down the shadows. When you combine the global and local tone corrections with the split-toning effect, the end result seems like a glowing sun was lighting up the Dugald Stewart Monument that morning in Edinburgh. I decided to use two color gradients: a warming one to help the glow and a cooling one to cool down the sky.
Once the two gradients were combined as shown in Figure 4.41, the dark blue sky and golden horizon were more to my liking. I’ll admit that adding Split Toning on top of the Graduated Filters may be just a tiny bit over the top, but nobody has ever accused me of being subtle.
As a general rule, I don’t recommend walking up to a wild American buffalo to photograph it.
In my experience, if you pump up Vibrance too much and then try to use HSL, the precision of the adjustments suffers (in other words, it becomes harder to use HSL after a really strong Vibrance adjustment).
The lens you shoot with can cause a lens colorcast that can be very difficult to correct in Lightroom.
Lens colorcast is particularly noticeable when using a wide-angle lens that isn’t a full retro-focus lens (designed to move the rear elements of the lens away from the sensor). The plug-in can identify a calibration image, calculate the required corrections, and apply the corrections to real images.
STEP 2: IN THE LIBRARY MODULE, UNDER THE LIBRARY MENU, SELECT PLUG-IN EXTRAS AND THEN APPLY INTERLEAVED CORRECTION. STEP 4: THE PLUG-IN RUNS AND CREATES A NEW DNG FILE STACKED WITH THE ORIGINAL WITH THE CORRECTIONS APPLIED.
Under the DNG Flat Field plug-in menu, there are two options: Apply interleaved correction and Apply external correction.
A special note of thanks to Tom Hogarty, the Lightroom product manager, for letting me put the beta plug-in in the book.
When shooting the colorcast calibration images, it doesn’t matter whether you shoot them before or after the real image. Subscribe to receive one FREE ebook and even more Photography Tips and Tricks that will improve your photos. If you FAIL to read this FREE GUIDE YOU have 92,5% chance of NEVER BEING ABLE to take better photos! The tone-mapping examples all resulted in changes to color, but instead of altering the color itself, they altered the tone of the color.
There are several ways, but I find the most direct way is to paint in a local adjustment with the Adjustment Brush. Making a strong warm adjustment had a global impact on the street that I didn’t like. This is one of my favorite images from all three of my Antarctic trips—in large part because of the light and the experience of getting to engage in the act of producing major gigage!


The main change in the tone was to increase Contrast and add a plus Shadows and minus Blacks to modify the tone mapping.
I painted in a plus Exposure adjustment on the monument to lighten the columns and a minus Exposure and Highlights adjustment on the background using the Auto Mask to darken the bright buildings. I could have done this using color curves, but to be honest, split toning is easier and quicker if you don’t need to have specific color adjustments (and it gives me a useful example of using split toning). Comparing the color effect of the highlights and shadows regions of the Split Toning panel. The gradients were applied as a color tint, but the saturation of the colors I used also strongly increased the overall saturation of the colors. But I’ve never been one to leave well enough alone, so I wanted to see what it would be like to combine a Split Toning panel adjustment on top of the Graduated Filter adjustments. This was one of the reasons the engineers altered the normal additive and subtractive color primaries of red, green, blue, cyan, magenta, and yellow in lieu of the eight colors in the HSL panel. If you want better precision when making HSL adjustments, don’t adjust the Vibrance or Saturation in the Basic panel. When the light passing through the lens strikes the sensor at a more oblique angle, you can get uneven colorcasts generally of a green or magenta color. So, even though the DNG can do it, there was no way of selecting the calibration image, extracting the colorcast and falloff data, and applying it to other images in Lightroom. I used the interleaved option because both the main image and the colorcast calibration image were interleaved in the same folder—as would happen when shooting in the field or studio.
Also, an extra-special note of appreciation to Eric Chan, Camera Raw engineer, for writing the plug-in. The plug-in is capable of finding the calibration image or images if you have multiple shots and calibration images.
You can’t use Camera Raw to select calibration images (although Camera Raw can process a DNG with the corrections already embedded in the DNG). The following color-correction examples dwell on substantial changes to the chromatic nature of the images. Most of my cameras record reasonable white balance information in the EXIF metadata that Lightroom and Camera Raw can make use of reasonably well.
The lighting was overcast with a touch of volcanic ash in the air from the eruption of the Eyjafjallajökull volcano.
The results of the white balance were fine, but the overall tone mapping was off, so the second figure in Figure 4.25 shows the global tone and color corrections applied.
In the HSL panel, I adjusted the Yellow Hue to +17 and adjusted the Orange and Yellow Saturation both to +9. For this image of a man walking with his burros in San Miguel de Allende, Mexico, the default white balance was too cool.
I made two Adjustment Brush adjustments aimed at cooling down the shadows and lightening the reflections in the wet part of the street.
I added a mask to darken the white top of the building in the background primarily using a minus Highlights adjustment. Finally, I added an Adjustment Brush mask with adjustments for the center of the island and increased Exposure, Contrast, Highlights, and Shadows to bring out the tonality of the hill. Instead of trying to write down the curves I adjusted, I’ve resorted to showing you the channel curve adjustments that were made and the result of the changes to the image. For this particular shot at Arches National Monument, taken well after sunset, I wanted to bring out the warmth of the glow on the horizon while deepening the blue color of the sky.
Figure 4.40 shows the two gradients applied individually to show the unblended adjustments. Figure 4.42 shows the separate warm and cool hues and saturations applied and the Split Toning Highlights and Shadows color pickers.
Instead, I sat down on the ground when it was much farther away and waited for it to come to me. In the Saturation sub-panel, I wanted to punch up the color of the buffalo (orange), as well as yellow and green, but I wanted to desaturate the blue. To shoot this, place a diffuser disk (often translucent Plexiglas) over the lens and shoot essentially just the colorcast and falloff caused by the lens.
You can convert raw images to DNG directly in Lightroom by choosing Convert Photo to DNG from the Library menu.


If you have a fixed shooting setup (as you might have for shooting copy shots of artwork), you may prefer to store your colorcast sample image in a different location. Shooting in the field with a tech camera, you may end up with a variety of different shots—just be sure you shoot a calibration image before making any lens changes. Figure 4.49 shows the final image after the colorcast and falloff corrections have been applied. Because of using a combination of my photographic knowledge, with those of internet marketing, I like to call myself a "photomarketer". Yes, some tone mapping is involved, but it’s the subtle or not-so-subtle changes in color that are emphasized.
The adjustments cooled down the street color, and I added a plus Shadows adjustment to lighten the areas a touch. I later found that isn’t always true, but the clouds did break and we got some shots. I also applied the Lens Correction to get rid of barrel distortion found on my Canon EF 28–135 lens. In the Luminance sub-panel, I lightened the orange and green while slightly darkening the yellow and more strongly darkening the blue.
Note that the calibration image must use the exact same lens, f-stop, focus distance, and lighting as the images you want to correct. The plug-in is capable of determining which calibration images are intended for which real images. You’ll note the removal of the green colorcast and light falloff from the top of the image. I generally set WB to the standard Daylight on the camera back and just roll with it, knowing I’ll be spending time adjusting after the fact.
Since I used a strong lightening effect on the Shadows, I also included a plus Noise Reduction. A sunset also gives you plenty of warning regarding weather—if the light is going to suck, you know it in plenty of time to go to dinner. The image I’ll be using to show color split toning is of the Dugald Stewart Monument, a memorial to the Scottish philosopher and mathematician Dugald Stewart. Because I had set up the camera level, I didn’t need to worry about keystone correction. The new result would be to have the green of the grass greener, the yellows more colorful, the buffalo more saturated and lighter, and the sky reduced in saturation and luminance.
If you choose the external option, you’ll be given a dialog box to navigate to and select the external sample.
The image was captured with a Panasonic LUMIX HG2 camera with a 14–140mm lens at ISO 400. To lighten the wet area, I added a strong plus Exposure and a milder plus Shadows and a plus Clarity adjustment.
I had already dialed in a +38 Noise Reduction Luminance globally, so the local adjustments added additional Noise Reduction strength. The capture shows that a tiny bit of sun was peaking out of the clouds and, although it was okay, I thought I could make it better in post.
We grabbed our cameras and flashlights (it was really dark by then) and set up to shoot a few frames. Truth be told, I doubt the buffalo was paying any attention to me—it was chowing down, and buffalo are pretty used to people in Yellowstone National Park. You’ll note that in the blue midpoint, I did allow some yellow to extend down into the midtones.
Figure 4.47 shows an image shot with the Phase One IQ 180 camera back on a Sinar 4x5 camera with a 120mm lens with a forward standard tilt to alter the focus plane and a front standard shift up for composition.



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