PL3: HSL questions

Hy john,
Did you spot the new tutorial from dxo?
DxO PhotoLab 3:The Colorfull Innovation with PhotoJoseph
It is a nice buildup from theory to practical use.
(mostly i find his video’s a bit chaotic which enhances my own chaotic mind in to a wild spin of what ifs and if then’s. So i loose primairy line and proned to skip parts of his video😂)
But this one is great in it’s flow and information speed.

(I need to go out for new images to proces but geesh the moeson is started out here. There is less air between the drops then i like. So i settle for youtube… :sunglasses::grin:


Thanks for the link. The tutorial is pretty nice. When he illustrated the Uniformity setting for skin tones, his edit of the portrait emphasised for me the importance of having HSL as part of selective correction on a layer. Hopefully this will happen for PL3. I won’t upgrade until this happens :slight_smile:

1 Like

Thank you, Peter (and @Sigi) - - Yes, I have just watched that video … and found it very useful in helping my understanding of this new tool.

{ Do you actually mean that you are in a location that has monsoons ?! - - Or, is it just heavy rain ? }


Heavy rain during the daytime nothing like floods or such.
my car screenwipers are automated and they changed in “high speed”, which nearly never needed, in the morning… dreadful wake-up. And i got wet every time i left the house… :cry:

Now i was the hole time in a sports building inside beautiful weather outside, some morning frost and i was playing badminton… awell tomorow work starting again. so no camera day this week.

1 Like

The difference seems pretty small ! What exactly are their respective strengths and interactions ?

Did see the HSL explaination?
Start watching from 6:30 of the colorfull innovation …
it is taking color/hue less or more around your selection of color.
if you need more 'feathering" use the wheel outer pins to spread the hue effected area.
The larger the angle like 90 degres is nearly no “feathering” and 120 degres is much more in hue overlap.

start with the hue which you think to want and desaturate compleet effected color gets “grey”.
use the wheel pins and uniformity slider to cover the colorrange you want to effect in “grey”
Then return saturation to normal and start adjusting.

But I’m none the wiser, I’m afraid (probably a little narrow-minded :thinking: ). My question was about the difference between “feathering with — or without — Uniformity” vs “feathering with outer points”…

I think it’s about the pins selecting only other hueparts to effect and the “uniformingslider” is turning yellow pixels with some orange or redisch pixels around those in to a plane yellow making it “one color”
If you watch the skintone selection with a desaturared selection proces to get the skin, which is a mix of red yellow orange, and when you have selection you can turn the nearly same colors/hue to the selected hue getting a homegene colorplane. Say for the argument it is yellow.

You are basicly replacing yellowisch colors with yellow by increasing the uniformity.
Lowering is allowing more just near yellow pixels in the yellow range.

Also usefull for sky enhancement.
Vibrance or blue saturating can turn sky in to blotchy spots. By using the uniformity slider you can smooth out the "blue"of the sky
Just play with the slider.

If I understand correctly, the uniformity slider increases or decreases the color variation within the selected range. More uniformity means fewer color transitions (e.g., taking red out of a model’s skin, making the color more uniform across the face). Less uniformity means the transitions become stronger, more clearly defined.

Feathering causes any changes you’ve made to diminish at the edges of the selected color range - so that they have less of an effect on neighboring colors. It aims for more precise control over color changes and more gentle transitions at the boundaries.

I found PhotoJoseph’s tutorial to be very useful! I’m looking forward to experimenting more with my own photos.


Thank you all for your efforts to clarify these concepts :smiley:

That’s what i was trying to say…:slight_smile:
Feathering is about transitions on the edge of the selected hue and uniformity about the transitions inside the selected hue.

1 Like

Hi Robin - firstly, thank you very much for the video - it really helped me!

Just a comment on the eraser for adjusting masks/adjustments made - if you hold down the option key on a Mac, the eraser automatically appears. It’s just a simpler, quicker way to get the same outcome when you need to erase parts of adjustments when required.

Thanks again!

1 Like

I wanna play around in a color chart like the tiff file used in the video of PhotoJosef - anyone has a tiff like that.


With HSL, is there a way to paint an area to be affected rather than the system pick up the area?

Thank you,


The HSL tool can not be used with local adjustments (masks) now.

Somehow, I have the feeling that using HSL in a selection would somehow be a contradiction in terms in the scope of a raw developer…

A contradiction like already existing local adjustments of white balance, tint or hue?

Assume that a photograph has three dimensions: height, width and colour (even if reduced to b/w)
Assume that a raw developer (or the person handling the tool) can change each of the dimensions
Assume that there is a (line) between operations that increase or reduce the message of a photograph and operations that add to the message. While former operations move within the photograph’s dimensions, the latter operations can add dimensions thus creating something that does exist only in the image. and is therefore out of scope.

About (line)
The (line) is not actually a line but a more or less wide zone. This is where discussions start. The zone should be narrow if you want to convey facts, it can be wider or nonexistent in the context of art. Photographic tools can be used to convey facts, create art or distort reality also in such ways as to create a lie.

Creating a blue sky where there was none is art at best. We must therefore tread carefully on the photographic path between the cliff of art and the abyss of lies - or openly communicate what we do.

1 Like

Since you mention height, width and message: The message of a photograph can be altered by cropping. And that can happen while taking the picture or in post-processing.

I didn’t study art, so I don’t really know what I’m talking about. Anyways, from a technical point of view local HSL adjustments make a lot of sense. And in the webinars that I watched it was asked for multiple times.

HSL adjustments are always local on the colour axis, adding a restriction in applying HSL changes to selectable areas enhances the toolset for more artistic interpretations and that’s perfectly okay. Take the tone curve: you can do all kinds of things with it…

Would it be enough to have a “protective brush”?
So you can selectively undo the HSL channel changes on part’s you didn’t want to change but is in the selection of the color hue of the hsl channel?

By using the desaturation technique for fine selection color hue in the channel it’s allready very local/selective. Only further use i could see as function is with controlpoints.
This is also color steered, the color inside the pupil is steering the selection in the mask of the influence ring around.
So basicly it has more or les the same selection procesure.
As in addition you could have a single channel colorwheel instead of The hue slider which act a bit like it now.

Just a idea. :slight_smile: