Graphics Programs Reference
In-Depth Information
4
Figure 4-31: High contrast, low contrast
Evaluate the tones of elements in the photo relative to one another. Using the
elements in the scene, decide what should be brighter, what should be darker, and
how all the tones should fall in between. In most cases, you should i nish evaluating
tone and contrast before moving on to color.
h is requires i rst determining where the black and white points should fall and,
based on that, how the rest of the tonal data should be distributed throughout the
image. h is takes practice; evaluating the image and knowing where to place the tones
for best ef ect is not a simple or automatic process. Fortunately, there are some long-
held standards you can use to guide your decision-making:
Shadow (black point): in the r gb color model, solid black has the same numeric
value in all three channels. Some images can benei t from having some pixels set
at solid black. In Lightroom's Basic panel, the Blacks slider adjusts the black point,
transitioning up toward the midtones.
Highlight (white point): highlights are the brightest spots in the photo. In some
cases, the brightest pixels might be pure white; again, equal in all color channels.
However, to show detail in highlights, they need to contain some pixels with values at
some levels less than pure white. Lightroom's Exposure slider adjusts the white point,
transitioning down toward the midtones.
Midtones: this refers to tones in the middle of the scale—halfway between solid black
and pure white. (h is is not the same as middle gray or neutral gray.) h e Brightness
slider adjusts midtones in Lightroom, transitioning down toward the black point and
up toward the white point.
h e actual numeric values of the pixels in these zones will vary depending on the
color model used. h is is why the terms shadows, highlights and midtones are used
to generally describe the same places on the tone scale, regardless of color model or
numeric values.
Search WWH ::




Custom Search