Note: For those familiar with color temperature, theslider might seem “backward”becausea higher
`temperature results in a warmer image, whereas warmerlight has a cooler Kelvin temperature. However,
`the effectis proper becauseyou are compensating forthe temperature oflight,so a higher temperature
`(coolerlight) requires warming ofthe image.
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`The Tint slider provides a similar control, shifting color between green to the
`left and magenta to the right. Think of this as a way to fine-tune the color tempera-
`ture adjustment. Start with the Tempslider, and then adjust the Tintslider to get the
`best color,
`
`~ ty
`Note: Keepin mindthat although theTempandTintcontralsare designed toallow you to compen-
`
`sate for the lighting in your image,you canalso use them to applyacreative color effect to your image, &
`such as warming up a drab photo.
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`Tonal Adjustments
`The next section of the Basic group of controls affects overall tonal adjustments for
`your image. The first option is the Auto Adjust Tonality check box. If you select this
`check box, Lightroom will attempt to automatically optimize the tonality of your image
`(Figure 4.36). Although it generally does a pretty good job of this, my preference is to
`adjust the foursliders in this section manually instead. However, if you have an image
`that you just can’t figure out how to adjust, you can select this check box to get an
`improved starting point, and then fine-tune the sliders from there.
`
`
`
`Figure 4.36 If you select the Auto Adjust Tonality check box, Lightroom will
`automatically apply adjustments to the Exposure, Recovery, Fill Light, and
`Blacks controls,
`
`The primary options for adjusting tonality in your image are Exposure, Recovery,
`Fill Light, and Blacks. Each of these is adjusted with a slider, and focuses the adjust-
`ment on a specific tonal range within the image. This doesn’t mean that each control
`will be limited to affecting only tonal values within a particular range, but rather that
`the adjustment will emphasize that range with a lesser effect on other tonal values
`within the image.
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`Note: Rememberthat you canalso use the Histogram displaydirectly to adjust the Exposure, Recov-
`ery, Fill Light, and Blacks settings.
`
`Exposure is a form of brightness adjustment that emphasizes its effect on the
`midtones to highlights in the image. You can think of it as having a verysimilar effect
`of increasing or decreasing exposure in the camera. Infact, the unit of measureforthis
`control is exposure value, or EV. This control should be used primarilyfor setting the
`white point. For images that should have an area of white within them, the ideais to
`set this to a value that produces a true white without any clipping.
`For such images, my recommendationis to use the clipping previewthatis avail-
`able for this control. To enable this preview, hold the Alt/Option key as you move the
`slider. The image will become pure black except where clipping occurs, which will be
`shownin a color indicating which channel or channels are being clipped (Figure 4.37).
`In general you'll want to adjust the slider to the right until you start to see clipping,
`and thenback off until there isn’t anyclipping. For images that don’t call for any
`bright white values, you can adjust this control visually.
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`Figure 4.37 The clipping preview display, enabled by
`holding Alt/Option while adjusting Exposure,is helpful
`in finding the optimal setting.
`
`In some cases you mayfind that reducing the Exposure value until there isn’t any
`clipping produces an imagethat is far too dark. In those cases the Recoveryslider can be
`helpful. Start by setting the Exposure slider to a value that produces a more pleasing
`image in terms of overall tonality, even though somehighlight detail is being lost. Then
`adjust the Recoveryslider to bring back highlight detail (Figure 4.38). Movetheslider
`to the right to recover highlights (prevent clipping) and tothe left to reduce the strength
`of this effect (but not to the point of reintroducing clipping). The Recoveryslider is also
`helpful for situations where highlight detail has been lost in the original capture and
`you're trying to makethe best of it. The clipping preview display is also available for the
`Recovery slider by holding the Alt/Option key, and I strongly recommend using this fea-
`ture to get the most-accurate adjustment possible. When recovering highlight detail, the
`best approach is to use only as much adjustmentas is necessary to bring back the detail,
`without recovering so muchthat the highlights start to look muddy.
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`Figure 4.38 When you need to use an Exposuresetting that causesa loss of detail in highlights (top)
`in order to achieve appropriate overall brightness in the image, the Recoveryslider can help restore
`detail in those areas (bottom).
`
`The Fill Light adjustment lightens up the shadow areas of your images, andis
`useful for bringing out detail that exists but isn’t visible (Figure 4.39). Because this
`adjustment is focused on the dark areas but doesn’t affect the black point, the image
`won't get severely washed out by using this control. However, you can create an artifi-
`cial look by lightening up shadow areas too much,so it is important not to use a set-
`ting that is too extreme. There is no clipping preview available for this adjustment
`because it doesn’t affect the black or white point in the image, so you’ll need to judge
`the adjustment required by a visual review of the image.
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`Figure 4.39 The Fill Light adjustmentallows you to bring out detail in the darker areas of your image.
`
`The Blacks slider controls the black point in the image. When you move the
`slider to the right, you are defining a new black point in the image, which can cause
`a loss of detail if taken too far. The clipping preview is available for this adjustment,
`so | recommend holding Alt/Option as you adjust the slider to find the value that
`worksbest. In general I try to avoid clipping shadow detail, but in some cases you
`may actually want to cause a loss of detail. For example, when producing a silhou-
`ette image, you don’t want to have any(or at least much) detail in the subject being
`silhouetted. When you use the clipping preview, the image will appear white except
`for areas that are clipped (Figure 4.40). The clipped areas will appear in a color rep-
`resenting the channels being clipped, or black if the area has been clipped to pure
`black. If data was clipped in the capture, even at the minimumsetting you’ll still
`have clipping in the image.
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`Figure 4.40 When you use the clipping preview display for
`the Blacksslider, the image will appear white except where
`clipping occurs,
`
`The Brightness and Contrast sliders provide a more basic tonal adjustment
`than the four sliders just covered (and the Tone Curve control discussed later in this
`chapter), and I prefer not to use them. The Brightness control is similar to the Expo-
`sure control, and I recommend using the Exposure control for this purpose. The
`Contrast slider allows you to adjust contrast by shifting the value of shadows and
`highlights in your image, but it does so with an equal effect on shadowsand high-
`lights rather than giving you individual control over each, so I recommend against
`the use of this control.
`
`Vibrance andSaturation
`The Vibrance and Saturationsliders both affect the saturation of the image, but in
`slightly different ways. Both are useful, but I highly recommend using the Vibrance
`control as your primary tool for saturation. Use the Saturation slider only when you’re
`not able to get the desired effect with Vibrance.
`The Vibrance control is indeed a saturation adjustment, but it is a “smart” one.
`It applies a nonlinear boost of saturation, which meansit doesn’t affect all colors in a
`uniform way. It will apply a greater boost to colors with low saturation than it does
`to colors with high saturation, helping to boost the overall appearance of saturation
`in your image while minimizing the risk of posterization (overly abrupt transitions
`between colors in the image) or colors that look artificial (Figure 4.41). It also takes
`measures to protect skin tones so they don’t get a saturation boost. I recommendthat
`you start with Vibrance for saturation adjustments, and use Saturation only when
`necessary.
`The Saturation control is not as sophisticated as the Vibrance control, but it does
`provide a stronger effect that can be helpful in somesituations. If you find Vibrance isn’t
`giving you the boost you need, reduce the Vibrance setting back to a neutral value, and
`then increase the Saturationslider to give the image a “bump.” Then go back to the
`Vibrance slider to produce the final effect for the image.
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`Figure 4.41 The Vibrance adjustment doesn’t apply extreme adjustments, even at minimum (top) and
`maximum (bottom) values, which helps to produce a more natural adjustment than the Saturationslider.
`
`Note: Although the Saturationslider can be set to 0 in order to create a grayscale version of the
`image, | don’t recommend doing this because it doesn’t offer an adequate amountof control over the
`result. Instead, set the mode to Grayscale at the top of the Basic section of adjustments, and then use the
`Grayscale Mixer section to fine-tunethe effect.
`
`Tone Curve
`
`The Tone Curve control in Lightroomis a variation on the Curves adjustment available
`in Photoshop (Figure 4.42). The simple fact that Curve is in the name of this control
`maycause many photographers to feel uncomfortable using it, but I assure you in this
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`case that the control is easy to learn and use. It offers many of the advanced tonal
`adjustment capabilities of Curves, while providing a much simpler user experience. In
`short, this is a tool you’ll absolutely want to use for your tonal adjustments within
`Lightroom.
`
`Curves control you may be familiar with from Photoshop.
`
`Figure 4.42 The Tone Curve adjustmentis a variation on the
`
`Understanding the Tone Curve
`The main display in the Tone Curve section is a box with a grid overlay and a curve
`(thoughit starts as a straight line) running from the bottom-left to top-right corner of
`the box. A faint Histogram display appears in the background of the box, helping you
`get a better sense of the tonal distribution of the image as you’re making adjustments.
`As you move your mouseoverthis display, you'll see a variety of information
`appear (Figure 4.43). This information updates depending on which tonal value is rep-
`resented by the position of your cursor (black is at the far left, white is at the far right,
`and all other tonal values transition in a gradient between them). In the top-left corner
`you'll see percentages displayed, which are the before(left) and after (right) values for
`the tonal value currently under the mouse.
`
`Figure 4.43 When you move your mouse over the Tone Curve display, you'll see a variety of information appear.
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`You'll also see an indication of which of the four tonal ranges the curveis
`divided into is represented by the position of your mouse. These ranges are those
`for which the sliders below the Tone Curve display apply. These are Highlights (the
`brightest values), Lights (the brighter midtones), Darks (the darker midtones), and
`Shadows (the darkest values). As you move your mouse between these zones, you'll
`see several things happen. Theslider label and value below will be highlighted, the
`range of the curve that is affected by this range will be highlighted, and the name of
`this range will appear as a label at the bottom of the Tone Curve box. You'll also
`see the current value for the slider displayed in the bottom-right corner of the box.
`In addition, the “before” and “after” tonal values are displayed as percentages in
`the top-left corner of the Tone Curve display for the tonal value represented by the
`position of your mouse on the curve.
`Near the bottom-right corner of the Tone Curve box you'll see a double chevron
`symbol. This allows you to hide or reveal the adjustment sliders. My preference is to
`keep them visible, but if you find that you’re using the Tone Curve boxitself to make
`all your adjustments, you might wantto hide the sliders so they don’t consume addi-
`tional space on the panel.
`Directly below the Tone Curve box you’ll see three sliders. These define the
`“border” of each tonal value within the Tone Curve. That doesn’t mean one slider will
`
`stop affecting pixels with a tonal value on the “other side” of one of these sliders, but
`rather that the adjustment will be focused on one side of the slider with a gradual tran-
`sition through the tonal values on the other side of the slider.
`Below thesliders you'll see a drop-down for ACR (Adobe Camera Raw) Curve.
`The default is Linear, but options are available for Medium Contrast or Strong Con-
`trast (Figure 4.44).
`
`Linear
`Medium Contrast
`
`Figure 4.44 The ACR Curve drop-down includes several options
`to changethe starting adjustmentfor the Tone Curve.
`
`Making Tone Curve Adjustments
`Now that you have an understanding of the elements of the Tone Curve control, you’re
`ready to start making adjustments. I suggest that you first decide whether you’re going
`to adjust the Point Curve setting at the bottom, because that will create a good starting
`point for you. My preference is to leave this control at the default Linear value, and
`then adjust the settings directly with Tone Curve. However, if you prefer a bump in
`contrast, you might wantto set this to Medium Contrast before you get started with
`your adjustments. | recommendagainst Strong Contrast in most cases because it tends
`to be a bit too harsh for most photos.
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`Note: Asyoustart making adjustments with the ToneCurve sliders, you might wantto switch the
`display to the before-and-after view to help you better evaluate the adjustments as you're making them.
`
`wis
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`As you're getting started with Lightroom, I suggest simply adjusting the four slid-
`ers below the Tone Curve display, which will actually produce a change in the curve
`itself (Figure 4.45). I generally prefer to start with the Highlights slider to set the bright-
`est values. This is because I feel getting the highlights right can be mostcritical to the
`overall tonal adjustment for your image, with the least amount of tolerance for an inap-
`propriate adjustment. Movetheslider to the right to brighten highlights and to theleft
`to darkenhighlights.
`
`the appropriate section of the curve will move.
`
`Figure 4.45 As you make adjustments to the sliders,
`
`Notes It canbe helpful to make sure the clipping preview displayis turned on in the Histogram con-
`trol when adjusting Highlights and Shadows in Tone Curve.
`
`NextI like to adjust the Shadowsslider. Moving the slider to the left darkens
`the darkest pixel values in the image, and movingit to the right lightens those values.
`You can probably get away with darkening the shadow areas of your images with a
`relatively strong adjustment (Figure 4.46) because we don’t expect to see too much
`shadowdetail and this adjustmentwill taper through theslightly lighter values to pro-
`duce a natural transition. Still, use caution not to create unwanted clipping or an
`artificial appearance in the shadow areas. The more common problemto be avoided
`is excessive lightening of the shadows. You maybetrying to pull out detail from an
`underexposed image, but this is more likely to create anartificial appearance as well
`as bring out noise and other image quality problems that may have been hidden in the
`shadows. If a strong adjustmentis required, take a close look at the dark areas of your
`image to be sure they look their best.
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`Figure 4.46 The Shadows adjustment allows you to set the black point in your image, which can
`be used to darken the shadows to produce a silhouette, among other things.
`
`Note: Lightroom restricts the adjustments you can make with Tone Curveto help ensure that you
`won'tcreate problemsin your images. Therefore, you'll likely not see any serious negative effects from
`Tone Curve adjustments unless the image waspoorly exposed from thestart.
`
`After the Highlights and Shadowsadjustments are made, | like to move on to
`the midtone adjustments. These are made via the Lights and Darkssliders, which affect
`the lighter and darker midtones, respectively. Which youstart with is largely a matter
`of preference, but | recommend starting with the range that seems more prevalent in
`your image. Therefore, with a darker image I’d adjust the Darksfirst, and with a lighter
`image Pd adjust the Lights first. However, you'll find that you probably move back and
`forth between these twosliders as you make your adjustments, so which you start with
`isn’t toocritical.
`
`Both the Lights and Darkssliders lighten the image when moved tothe right
`and darken when moved totheleft. The difference is just the tonal range on which the
`adjustment is focused for each. In general you'll likely want to increase midtone con-
`trast, so you will probablyslightly lighten the Lights (movetheslider to the right) and
`darken the Darks (movethe sliderto the left). This will produce an S shape in the mid-
`dle range of the tone curve, producing increased contrast in the image without losing
`highlight or shadow detail.
`Besides adjusting the sliders, you can also produce the sameeffect by dragging
`directly on the Tone Curve display. As previously discussed, when you move your
`mouse over the tone curve, a label appears at the bottom of the box to indicate which
`tonal range is represented by the current position of the mouse. To make adjustments
`directly on the tone curve, move the mouse into the region you want to adjust and
`then click and drag up or downto adjust the curve. You’ll notice that as you do so,
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`the correspondingslider below is updated. The effect is exactly the same, with the only
`difference being how you prefer to make the actual adjustment.
`Yet another way to adjust the Tone Curvesliders includes a direct reference to
`the image. When you move your mouse over the image while in the Develop module
`and while the Tone Curvesection is visible, you’ll see that the sections get highlighted
`based on the tonal value below the mouse within the image—just as they do when you
`move the mouse over the Tone Curve boxitself. To make an adjustment by referencing
`the imageitself, move the mouse over the area you want to adjust, and then use the up
`and downarrow keys on your keyboard to apply an adjustment. If the Tone Curve sec-
`tion is visible while you do this, you can see that the corresponding slider moves as you
`make this adjustment.
`Another wayto fine-tune the adjustments you’re making with the Tone Curve
`control is to change the tonal range defined by each of the four regions represented by
`the four sliders. For example, the Shadows adjustment by default focuses its effect on
`the darkest 25% of tonal values. However, you can change this by movingthesliders
`below the Tone Curve box. The leftmost slider controls the transition point between
`Shadows and Darks, the middle slider controls the transition point between Darks and
`Lights, and the rightmost slider controls the transition point between Lights and High-
`lights. To move any ofthesesliders, just click it and drag left or right. As you drag the
`slider, you'll see a vertical line and numberindicating the tonal value at which the transi-
`tion will occur.
`
`I use the ability to redefine tonal ranges most often when I|’m trying to make
`an adjustment while protecting a certain range of tonal values. For example, if | want
`to protect most of the shadow values as I increase contrast by darkening the Darks
`and lightening the Lights, I might move the leftmost slider to the righta little bit
`(Figure 4.47). Similarly, if I want to have that midtone contrast affect a broader range
`of tonal values and I’m not worried about protecting as much of the Shadowsrange,
`I might movethe leftmost slider to the left. As you move these sliders, you'll see the
`effect they have on your adjustments so you can get a better sense of how far you
`want to move them.
`
`of tonal values affected by each slider.
`
`Figure 4.47 You can movethe split between Shadows and Darks on
`the Tone Curve by moving the leftmostslider below the curve from its
`starting position (left) to a new position (right), changing the range
`
`Color and Grayscale Adjustments
`
`The next section (Figure 4.48) contains three options to change the controls that are
`available. HSL provides many options, allowing you to adjust the hue, saturation, and
`lightness for all of the color components in your image individually. The Color option
`provides the same basic controls, but organizes them differently so the hue, saturation,
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`and luminancesliders are shown together for a single componentcolor, withsliders for
`only a single color at a time shown by default. The Grayscale option includes controls
`for refining the appearance of your image when you’ve chosen to produce a black and
`white version.
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`Figure 4.48 The Color Adjustments section contains 18 sliders that
`enable you to adjust the hue, saturation, and lightness of individual
`colors within the image.
`
`The HSLsection hassliders for Hue, Saturation, and Lightness, and you'll
`notice that Lightroom divides the 18 sliders into these three groups. The Hue/Satura-
`tion adjustment in Photoshop also includes an Edit drop-down, where you can choose
`a specific color value to adjust. Lightroom contains the same capability, but provides
`sliders for each rather than a combination of drop-down andslider to offer the same
`adjustments. The advantageis that in Lightroom it is much easier to move between
`similar adjustments (for example, Hue) for different color values within the image.
`I think it is important to understand whatI feel is the proper perspective for
`using these controls. You may have noticed that Lightroom doesn’t contain a Color
`Balance adjustment. Instead, color adjustments are handled by the Temp and Tint slid-
`ers that affect white balance, found in the Basic section of the panel. Also, recall that
`you have already had the opportunity to adjust the saturation of your image through
`Vibrance and Saturationsliders in the Basic section. The HSL section really provides a
`way to fine-tune color, especially through targeting adjustments to specific color ranges
`in your image. | recommend that you think of this section as a tool for fine-tuning the
`colors in your image, not for doing your primary color adjustments.
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`Notes You can limit thedisplay of sliders to only one category by clicking the Hue, Saturation, or
`Luminancelinks at the top of the HSL section, or view all again byclicking theAll link.
`
`The Huesliders allow you to adjust the color appearance of individual colors in
`your image, with sliders for each of the additive (red, green, blue) and subtractive (cyan,
`magenta, yellow) primary colors. Thesliders give you a visual indication of the effect
`they'll have on the color in question. For example, moving the Reds slider to the left
`will make the reds in your image more magenta (pink), and moving it to the right will
`make them more orange or yellow (Figure 4.49). Think of these sliders as providing a
`color balance adjustment for individual color values within your image and you'll bet-
`ter understand the approach I recommend taking. Evaluate the image, and if any colors
`aren’t quite what youfeel they should be, choose the appropriate slider and moveit to
`
`shift the applicable color values.
`
`
`Figure 4.49 Moving the Hueslider for Red will shift the value of reds in the image. The other
`Hue sliders operate in the same mannerwithdifferent colors,
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`Note: When using the Huesliders,| find it helpful to start by moving thesliders through the extreme
`minimum and maximum valuesto get a senseofthe effects. Then | bring theslider back toward the range
`that seems most appropriatefor that color.
`
`The Saturation sliders allow you to increase or decrease the vibrancy of specific
`color ranges within the image. For example, if you have an image with a magentatint
`in the sky and no other magenta values, you can quickly solve the problem by moving
`the Magentasslider in the Saturation sectionto the left. You might even moveit all the
`way to the left to eliminate the appearance of any magenta in your imageif the only
`magenta that appears is problematic.
`Conversely, you can boost the saturation of individual color ranges. For example,
`if you have a photograph of a model and you want to boost only the saturation of
`the blue background without affecting the model, you could adjust the Bluesslider
`(Figure 4.50).
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`Figure 4.50 You can use the Saturation sliders to boost the vibrancy ofa single range ofcolors
`within the image.
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`Finally, you can adjust the brightness of a particular color range by using the
`Luminancesliders. I typically use these controls when a particular color range appears
`a bit washed outin the image (Figure 4.51). Move the slider for a given color range to
`
`the left to darken those colors in the image, and to the right to brighten them.
`
`
`Figure 4.51 The Luminancesliders allow you to changethe relative brightness of a range of
`colors within the image—for example, to darken colors that appear washed out.
`
`The Color option (accessed by clicking the Color link at the top of this section)
`provides the sameset of controls, but organizes them differently. By default, only a sin-
`gle color is shownat a time, with Hue, Saturation, and Luminancesliders for that color
`(Figure 4.52). These are the exact same controls found in the HSL section discussed
`above, just organized differently. You can click on one of the color boxes to change the
`color the controls will apply to, or click All to see all 18 sliders divided into sections
`based oncolor.
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` ration, and Luminancesliders for a single color.
`
`Figure 4,52 The Color section provides the same controls as the HSL
`section, but organized differently. By default you'll only see Hue, Satu-
`
`Grayscale
`When you select the Grayscale option (Figure 4.53), you'll have controls that provide
`an excellent way to use all the information in a color image to produce the best possi-
`ble grayscale image. It allows you to adjust the brightness values of individual colors
`within the image, all of which are displayed as shades of gray. The result is a high
`degree of control over the final grayscale appearance of the image.
`
` Grayscale Mixer section becomesavailable.
`
`Figure 4.53 When youselect the Grayscale modefor an image, the
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`Notes Itis possible to adjust the other tonal adjustments before movingto the Grayscale Mixer
`adjustments, but | prefer to start with Grayscale option to get the best starting image, and then fine-tune
`the tonality with the adjustmentsin the Basic and Tone Curvesections.
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`vi¢
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`After seeing the color version of the image, you probably have a pretty good
`sense of which color areas you want to emphasize in the grayscale version. However,
`even if you know that information, you may not know which sliders you want to
`adjust in which direction. You can get a good indication of whichsliders to focus on by
`switching to the before-and-after view so you can see the original color version along
`with the grayscale version. For example, if you want to darken the red areas of the
`image, you’ll know to adjust the Reds slider in the Grayscale Mixer section. I realize
`this may seem obvious, but in some cases you might not know what color is dominant
`in a particular area of your image, which is whythe before-and-after view can be so
`
`helpful (Figure 4.54).
`
`Figure 4.54 The before-and-after view can be particularly helpful as you're producing a grayscale
`adjustmentfor your image.
`
`Even after knowing which sliders need your attention, you might not necessarily
`be able to formulate a plan for those adjustments. My recommendationis to work with
`all the sliders, moving them through their extremes to get a sense of how the adjustment
`will affect various areas of the image, and thensettling on the best final setting. After
`working withall six sliders, perhaps revisiting each of them more than once, you'll be
`able to produce an optimal grayscale image from the colororiginal.
`
`Note: After adjusting the grayscale version of your image with the Grayscale Mixer adjustments, you
`can still return to the tonal adjustments in the Basic and Tone Curve sectionsto optimize the result.
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`DEVELOP@
`CHAPTER4:
`
`Split Toning
`
`The Split Toning adjustments allow you to apply a color cast to the image, with indi-
`vidual adjustments for the highlights and shadows. These adjustments are available for
`all images whether they’re in Color or Grayscale mode, but in general you’ll find them
`most useful for grayscale images. You can use Split Toning adjustments to produce a
`result that looks like a grayscale image that uses a color instead of black to produce the
`various tonal values, such as you would see in a sepia-toned print.
`The individual adjustments for Highlights and Shadowsprovide a bit more con-
`trol, which enables several possibilities. If you’re looking to have an image comprising
`a single color value, the split between controls for highlights and shadows enables you
`to adjust the intensity individually for each. For example, you may need to use a lower
`Saturation setting for the Shadows as compared to Highlights to produce a consistent
`appearance throughout the image. You may also want to get more creative with your
`image, applying one color to the highlights and a different color to the shadows,
`The general approachI take with Split Toning is to start with the Saturation for
`Highlights set to about 50 or so and then move the Hueslider for Highlights through
`the full range to find the color that works best for the image (Figure 4.55). After you
`find the right color value with the Hueslider, you can refine the Saturation adjustment
`for the best effect. Then either set the Hue slider for Shadows to the same value as you
`used for Highlights or a completely different color if you’re trying to achieve a more
`radical special effect, and adjust the Saturation to the desired level for both Highlights
`
`and Shadows.
`
`Figure 4.55 When using Split Toning,| generally start with a Saturation setting for Highlights of
`about 50, adjust the Hue slider to find the desired color, and then revise the Saturation adjustment
`as needed.
`
`Note: Don't forgetthat you can resetanindividual adjustmentto its default value by double-clicking
`ontheslider handlefor that control.| find this particularly helpful for adjustments,such as Split Toning,
`that tend to require a bit more experimentation for the adjustment to be made.
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`Detail
`
`The Detail section provides three sliders to help optimize the overall appearance of
`your images. These include Sharpening, Luminance Noise Reduction, and Color Noise
`Reduction (Figure 4.56).
`
`Smooth, and De-Noise.
`
`Figure 4.56 The Detail section includes adjustments for Sharpen,
`
`The Amountslider for Sharpening applies a sharpening effect to your image
`(Figure 4.57). Although it doesn’t offer the full control afforded by sharpening tools
`such as Unsharp Mask found in Photoshop,it does provide a good and simple sharpen-
`ing solution. I recommendsetting the image to the 1:1 view size so 1 pixel on the
`monitor represents 1 pixel in the image. Then adjust the Sharpenslider for the desired
`level of sharpening in the image. Remember thatthis is still a nondestructive edit, as
`with all adjustments in Lightroom, so you can always reduce or eliminate the sharpen-
`
`ing later by moving the slider again.
`
`
`Figure 4.57 The Sharpening control provides a simple way to apply a sharpening effect to your image.
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`The Luminance and Colorsliders for Noise Reduction can be helpful in removing
`noise from your images, most often caused by capturing atarelatively high ISO setting.
`Whenusing this adjustment, | reeammend zoomingin to the 3:1 zoom setting so you
`can see the noise more clearly. Navigate to an area of the image that exhibits the most
`noise, and then adjust th