[easter egg] hidden Luminosity mask tool inside color wheel tool while waiting for Luminosity S-curve

Need too add a Luminosity sliding tool feature for the white color of the color wheel that appears grey (deactived) in PL5 ?

Just pick any less used color, join the sliding cursors from one side to the other side (360º). You would need to stretch it to its own color before, to be able to join perfectly the both sides (the more square…)

And now you can play with it ! It’s so powerfull that it should be a dedicated sliding tool (easy to add in the dev roadmap…) below/above the vibrance tool.

For sure it takes all sens with an Adobe monitor, embedded raw profile, etc…to adjust conflictual colors (red, blue and green) with kid gloves.

It gives me another flavour to PL5 that missed a strong luminosity tool (S-Curves) but until it appears one day, we could be satisfied of this custom use.

:wink:

Could you share some more details of why you would want to do this and possibly some screenshots?

Something like this:

Why not go a step further?

To be honest, if that is the aim, thanks but no thanks. What does that have to do with luminosity masking?

Mind you, having never used luminosity masking, I’m not in the best position to judge it, but I didn’t think it would affect colours like that. More research required obviously.

Having just looked up luminosity masking and how to do it, I would say that the best way to achieve the same thing in PhotoLab is to use the Control Line tool in Local Adjustments, making sure to use the pipette and selectivity sliders to choose the areas you want to change the luminosity on, then using the highlights/mid-tones/shadows/blacks sliders to adjust the levels of the selected area.

The Local adjustments palette gives you the ability to select multiple areas and apply different adjustments to each selection.

At least that’s what I do for dodging and burning on B&W images.

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Luminosity and to be more precise, Tone Color Luminosity can give a bleached effect with vivid color (R, G or B), a kind o bad reflection on green leaves, blue or red painted surfaces that kills the original color density. It’s due to the reflectance of the objects that receive the light and of the way the sensor receives this same light. Adjusting this layer does not affect the level contrast, just the level color tone and for the vivid colors only. Sometimes, those colors are too far from the overall contrast of the scene and need to be adjusted to keep a consistent look and feel.
It can also recovers some contrast or zone like a dehaze tool. Of course it’s not suitable for all pictures and a targeted color ajustement would ever give better control.

Comparing it to Vibrance, I would say that Vibrance is limited in the zone range from shadow to Medium and does not recover the “original” density of a vivid color.

Regarding Local adjustments, even with the control line, it reaches its limits. It’s unusable on heavy detailed picture (tree leaves ,stone walls, etc) and it takes moreover time and it’s lagging when adding others tone circle or protected zone with other circles or brushes masks…

This is subjective but it matters in the last final touches. I invite you to give it a try. Saturation should be adjusted afterwards !

I will illustrate it later with examples.

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image

Your color wheel should looks like this one with only a black line and 2 points if correctly reached and at the 180º opposite you should keep the target color wheel as is, except if you decide to use it…

@Deneice

would you be so kind and provide an example image including the DOP file with your setting.

I have not quite understood this yet :grinning:

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curios as ever, I also would like to try out …

Hi @Deneice

It would be really great if you could share your idea and process with us. The forum likes to discuss, but we need your input. And no idea is so crazy that it can’t be discussed objectively and with other ideas. Everyone can learn from each other

Many greetings

Günter

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Sorry Guenterm, very busy this week…

In a few words, all you have to do is experiment with your own reference pictures (each one should have got ones :wink: ) and some charts but the more important thing is to do it with a calibrated monitor at first and by checking your icc monitor profile used by your system.

What I could also tested is that saturation runs differently with this “hack” than the original one (try it with the chart and you will see that it applies from light to dark tones instead of the original one wich use a “range” limitation.

Luminance should be used with care because not for all pictures, in any case what is interesting is that it does not touch the grey tones contrast only the more vivid colors.

360_Luminance_and_Saturation.preset (8,0 Ko)
https://www.cameratrax.com/Color/color.php?BodyName=color_granger.txt

It’s up to you now !

@Deneice – I still don’t get it. :frowning:

Your “360_… . preset” reacts the very same as “1 - DxO Standard”
( just activating the HSL tool, but w/o changing settings )

  • and both activate DxO Smart Lighting
    grafik
    which then leads to changes …
    .
    grafik
    w/ DxO Smart Lighting on the Granger chart
    .
    grafik
    no DxO Smart Lighting

I also tried it w/ other pics (raw & pixel) – manipulating as you described before –
but don’t get anything, what I would get from a Luminance S-curve,

  • except on the selected color range
    grafik
    preview → press/hold Crtl + pointing/clicking on the tool

Hi all,

and I can’t get the

image with the thin black line

My line is more thick, but eventually it’s a problem of my old fingers and eyes and/or the touchpad or a combination of all :rofl:
and I give up because of more serious work to do

Well, apply your preset and then adjusting the Luminance slider gives me…

Is this what you meant? If so, I’m still trying to see the reason for using it. Can you explain further?

And why does it only seem to affect predominantly reds?

My guess, it’s the result of working on an inverted colour channel ( → conversion of negatives )
and would be more comfortable when selecting the ‘right’ colour instead.

@Deneice I still can’t justify your technique, as it doesn’t really do what Luminosity Masks are intended to do in Photoshop.

I gather they are meant to provide a means of selecting a certain luminosity, in order to be able to “equalise” exposures in HDR type shots.

In which case, you need to take a look at the Control Line tool in Local Adjustments.

Here is a single RAW HDR shot taken by @platypus as an example for another post:

Straight out of the camera…

After use of a couple of Control Lines…


First, I started by drawing a Control Line, in much the same way as a graduated filter, to cover the lower half of the image by placing the pipette in the street…

You need to show the mask and adjust the Luma selectivity level in the palette to select just the tones you are interested in.

Then adding to the same mask, I drew another one to cover the building wall on the right by placing the pipette on the wall…

Hiding the mask and adjusting the exposure gives me this…

Not bad, but I wanted to just lift a bit more detail in the people in the street and some of the deeper shadows, so I created a second Control Line, with the pipette on one of the people and a very tight selectivity on both Luma and Chroma…

Hiding the mask and adjusting the black and shadow levels then gives me that extra detail…


So, if you really want to replace what Photoshop calls Luminosity Masks, you need to have a play with Control Lines (and Control Points) selecting with the pipette and adjusting the selectivity levels with the mask showing, then hiding the mask and making necessary adjustments.

My lesson learned: :question:…I’ve not seen any reasonable examples provided by @Deneice.

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Back… sorry I wasn’t available till now.
So , from left to right, DXO Lum/Sat360 hack, normal, Vibrance/Sat

The hack gives more control to get deeper colors even if the final tone in those cases are a little blueish but can it be corrected easily.

I really can’t see anything significant that I couldn’t do just as well with selective local adjustments. Have you tried using them?

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Sure I do use local adjustments that are so powerfull but very processor costly ! And your’re right you can achieve the same with’em. Everyone will find something with their liking with this hack.
I give another example here with a sort of “dehaze” process.

From left to right : colorwheel hack, normal, clearview plus.
The hack has enhanced the contrast by recovering details and colors in the fog BUT without touching the clearness of the picture that Clearview has added in addition to that kind of fx border between 2 contrasted zones that I dislike with this tool.

It’s subtle but it can help in some cases to keep the overall luminosity, contrast or clearness. I can’t say more about it.
Thanx for sharing your thoughts.