How to best eliminate the high light cutting?
In LR, there are several ways to reduce the high light cuts.
I noticed that on a given photograph I could remove the cuts of
(a) reduction of exposure with - 1.33, or
(b) an increase of 100% recovery, or
(c) move brightness of 50-150 (a few clippings remained), or
(d) reduce the clarity to-100.
It goed combinations of some ot the above reduction techniques will probably the way to go.
I am aware that each photo is different and will therefore require specific treatment.
My question is what would be the best first step?
-use recovery to its fullest and still possibly a bit, reduce exposure or
-first of all reduce the exposure a bit, and then increase the recovery?
My impression is that it is better not to apply adjustments of exposure and recovery and stay away from light, and certainly unclear.
Thanks for your advice!
Harry Briels wrote:
I noticed that on a given photograph I could remove the cuts of
(a) reduction of exposure with - 1.33, or
(b) an increase of 100% recovery, or
(c) move brightness of 50-150 (a few clippings remained), or
(d) reduce the clarity to-100.
To remove the highlight clipping, you really want to work with exposure and recovery. Always try exhibition first, because he controls more precisely the white clipping point. If the amount of the reduction of exposure you need is so that the image is too dark, then adjust the exposure to the overall image and move to recovery.
The reason why you don't want to try to recover everything first is that if you use more recovery you need, it tends to flatten contrast and detail in the bright areas of the image. That's why I'm trying to see how much I can take care of exhibition first.
Brightness, contrast and tone curve only work with the tones remaining after you set the end with exposure/black points and adjust the extreme loved ones with recovery/Fill Light. You cannot use curve of brightness/contrast/Tone to bring what you cut because they do not go beyond the anchor points that you define with the exposure and shadows. But the brightness is ideal for clear tones that were clouded once you have reduced exposure to retrieve highlights. Clarity is a local contrast control, working again with tones only inside the exposure and shadows. This is why the great changes of brightness/contrast/Tone curve and the clarity had little effect on the highlights. Exposure and recovery of the matches of the shadow specifically, target with the least side effects on the rest of the image.
Lowering the point the top of the tone curve is not really eliminate clipping, it remaps only the brightest tone less than white. It is still blown out, but now rather than be a detail missing from solid white, it is now a detail missing solid area light gray. Highlight the valuation: back in detail.
Tags: Photoshop Lightroom
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