There are so many ways to process a file … many good answers. I gave a try to the one with bracketing, using only the middle one _1087051.RW2. I processed the image just for optical corrections and DeepPRIME using PL4. Continued using Nik collection Color Efex.
Restarting from the processed image just for optical corrections and DeepPRIME, made a version within PL4 alone, without using NIK Color Efex.
Hi Barb - - Check your ICC Profile setting in the Export dialogue … It should be sRGB for web usage.
John M
i like the first… i have NIK free version but don’t use it much. same as filmpack emulators by the way. not enough patience to search and look which i like at that moment.
(
then i know never which i like…)
Here’s my attempt, on the first scene (also using the “middle” image, like others have).
Man - Something you may wish to to consider is use of Spot-Weighted Smart Lighting (instead of the Tone Curve, which is global in its application - without ability for “finesse”). To use it, draw a rectangle on the image, and then move it around - especially over high-contrast areas - to see the result you get. You can draw multiple rectangles to have influence applied from different tones in the image (tho, one or two is usually sufficient).
Also, I see that you’re applying Unsharp Mask (perhaps 'cos you’re coming from a LR background?) - - which, again, has a global impact … whereas, you’ll most likely be better off relying on PL’s Lens Sharpness correction (which understands the specific characteristics of your {body+lens} combination). If you’re not happy with sharpness of the exported result, try Interpolation = Bicubic Sharper (especially if you’re resampling to smaller image size - as I did in the image above).
HTH - John M
Thank you, that’s interesting. I checked it and it had been left on As Shot - which I would expect to be sRGB on my cameras, but it is not my camera, so that might make sense.
I see you also commented on Unsharp Mask above. This is something I keep meaning to look into to see if there are any tutorials. I never use it - I am from a Lightroom background, but I’ve felt so far, that the sharpness was enough without it. I just seem to do less processing overall with Photolab 3.
Now trying again with the sRGB profile - thank you so much for mentioning this, and I’m glad I said they were a bit flat. So much to learn!
Very nice conversion
If my camera is supported but there is no profile for my lens, I will use unsharp mask right ?
Or do you guys use another technique to bring some overall sharpness ?
Yes, that then becomes your only option, Marc - - and that’s why Unsharp Mask is provided.
John M
Thanks a lot for those tips John, very useful. I’ll give a try with smart lighting.
Regarding unsharp masks, i know it can bring noise to the whole picture, but on my screen i find that it gives a little more sharpness. Do i use not properly sharpness lens correction ?
Great interpretation !
thanks all, learnt a lot by reading your comments and looking at your .dop !
Yes, you were using Lens Sharpness correctly. Note, tho, that you will not be seeing the actual results of Lens Sharpness (nor of Unsharp Mask) unless your zoom rate is 70% or greater.
And, generally, Lens Sharpness will provide a “smarter” result than will the global impact of USM.
John M
I agree. Lens sharpness is generally more subtle, while USM often leaves bothering edge artifacts.
Here are my propositions
I have made some minimalist process
When I see the pictures I have just posted, I see them smaller than their full définition and have a smoother rendering.
It’s always a pleasure to have someone else’s raw images to play around with, especially with
this kind of scene, which we don’t have anything like in Southern California … or anywhere nearby. I shoot a lot of landscapes with my G9+8-18mm Panasonic/Leica zoom. I took the liberty of cropping it, as I almost always do with my 8-18mm. I selected three areas for Spot Weighted Smart Lighting and set the intensity to 30. I used control points to add extra clear view and micro contrast to the clouds. I also used control points on the river and added micro contrast a big. I also removed the two birds, which are too small to add anything, in fact distract. I increased saturation in yellows and reds and decreased saturation in greens. Of course, I ran it through DeepPRIME; even at ISO 200 I always end up with some noise, particularly in sky and clouds, and I have yet to see it degrade image. This is exported JPEG 100%, but reduced in size using JPEGmini PRO.
