1 Shot HDR

Quick rundown on various methods of adjusting tone and color in Darktable. Then a sneak peek at my 1 shot HDR technique.

In the video I start with a quick survey of different Darktable modules that you can use to set exposure, gamma, color balance and saturation.

With this week's Edit My RAW I get to use an experimental technique I'm working on for challenging captures. It's a lot like a single shot HDR, but with a wide range of applications. The enfuse command line I use in this video is:

enfuse-mp -o hdr.tiff –exposure-weight=1 –entropy-weight=0 –saturation-weight=0 * 

The RAW files used in this video are available here
Farmer's Market
Mountain in the Distance

Thanks Juan for the RAW contribution and your translation work. Find Juan's blog here

Complete Show Text

Download complete text here

Aloha everybody and welcome to Weekly Edit.

This week I'll look at different ways of adjusting the Exposure, the Gamma, the Color Balance, and the Color Saturation.

I'll go over them quickly, touching on them lightly just to give you an idea of what options are out there.

This is my wife.

She is shopping for orchids at the farmers market.

First thing I'll do is crop this image so we just have the areas of interest.

One way to increase the exposure is to lower your White Point.

You can do that with this module.

You see that sets our Histogram White Point over.

Here's where we started, and here's where we ended.

So, that's pretty much the same as increasing your exposure.

It leaves your Black Point the same.

That's nice.

Another way to adjust exposure is just with the Exposure Module right here.

You can take your Exposure and turn it up.

That leaves your Black Point in the same place too.

Another way to adjust exposure is with this Contrast, Brightness and Saturation.

Watch out, though; when you increase this Brightness, it DOES change your Black Point.

See, it moved my Black Point.

So, you've got to mess with it and the Contrast to get it the way you want it.

It's kind of a pain.

It's not intuitive for me.

Another way is using the Tone Curve.

You can just take your White Point here and lower it.

That's much the same as the Exposure on the Exposure Module.

Another way is using the Levels Module.

If you just take the White Point here and set it lower, you get a lot of the same effect.

Let's talk about Gamma.

What is Gamma? When I've got this curve like this so that my White Point is over, the steepness of the curve is my Contrast.

The bend in the curve -- whether it goes down like this -- this is increasing the Gamma, and this is decreasing the Gamma.

So, how can we adjust Gamma in addition to the Tone Curve? Well, another way we can do it is with the Levels.

This middle is the Gamma.

Take it and move it toward the dark, and that decreases your Gamma.

Another way to adjust the Gamma -- here, we'll go back and set our White Point with our Raw Black-White Point -- okay.

Another way to change the Gamma is with this Base Curve.

The reason I did that was to put it in front of the Base Curve, because the Exposure and the Levels are after it in the pixel pipe.

This Base Curve can be a gamma adjustment also, like this.

There are pre-sets: Canon, and Sony, and whatnot.

Then, another way to adjust the Gamma is with the Unbreak Input Profile, which is under Color.

This not only has a Gamma set, it also has a Linear set.

If we increase our Gamma it looks like that, and if we decrease it, it looks like this.

Color Balance.

First off, let's get our Gamma set and our White Point set, and then we'll do some work with Color Balance.

Right back here.

We're cropped; we're going to set our White Point -- here.

I'm going to set my Gamma with my Base Curve.

There's our starting point.

Now, let's start looking at our Color Balance.

Let's find something that's color-neutral and start with that.

Then we can look at some other ways of adjusting the color too.

We'll look at our White Balance Module first.

Right here.

One of the ways to do it is set your Spot to the whole image.

Sometimes that will give you wonderful results, and other times not so much.

This time everything looks blue.

So, I'll find something that is pretty grey, or pretty neutral.

There's this post.

I can look at these numbers and get some idea of where we stand.

I've got my Tint at one and my Temperature at 4700.

That tape there is kind of purple.

Let's look at these glasses.

They seem like they should be black.

That gives us 1.04 and 4400, and that looks pretty blue too.

What else do we have? There are these trays.

Where do they put us? That looks pretty good: that's about 1, and 5100.

So, it seems like we're hovering around 1 and around a little more than 5000 down here.

We can adjust our temperature so that we like it, and we can adjust our tint so we like it If we want a balance between these different potential greys, we can take samples of each.

Here's one.

And we'll add them all down here.

Here's another.

And here's another.

Okay, so this one's at zero-zero; that's good.

And this one is a little warm on both and this one is really warm on both.

So maybe we need to cool the whole image down a little.

Let's bring our Temperature down a little, try and even these out, and try and even these out.

Well, that kind of splits the difference.

Let's see: this one gives us right around 1 and 5000 again.

We seem to be hovering right around there.

So, that's one way to adjust the White Balance.

Another way to adjust the White Balance is with the Color Balance.

Now, Color Balance lets us adjust the Red, Green, and Blue for the Black Point, the White Point, and the Gamma.

For instance, if we wanted to make things cooler, but only in the highlights, we could do that here, like that.

We'll look at that more in depth when we're looking at the skin tones.

Another place we can adjust Color Balance is in the Color Zones.

You can take your Hue.

Go to Select by Lightness.

You can adjust the Color Balance for different brightnesses.

For instance, if I want to take the brightness of this skin tone and make it warmer, I could take this value and bring it down just a little.

That would bring things in this area a little more toward the red.

If I wanted to go toward the green, I could go this way.

We'll turn that off.

Color Balance: what else have we got? Tone Curves.

We can adjust the color balance by taking out these midpoints on the Tone Curve, and then you can take one end and move it.

That moves your midpoint.

So, that would make things warmer, and so would this.

Where else do we have it? Color Correction.

There are two dots here.

One of them is white and one is black.

If you move the white one where you want it, that will add that color to the highlights.

For instance, I moved it toward these warm colors here.

That made these areas warmer without affecting the darker areas.

If I want to make the darker areas cooler, I can bring this down and get a split-tone image.

If I want to make both of them warmer, I can bring both up here.

And, if I want to keep my highlights the same and just warm up my shadows, I could do it like this.

This lets me treat my shadows and my highlights separately, just like the Color Balance does, with the Lift and the Gain being separate.

There is no Gamma adjustment on the Color Correction.

The Channel Mixer combined with an L Mask lets you adjust the highlights and the shadows separately.

So, if I move my L Mask so that most of the effect is in the brighter parts of the image, then I can take my red and turn it down if I want.

That will only reduce red in the brighter parts of the image.

Or, I can turn it up, and it will only increase the red in the brighter parts of the image.

Let's look at skin tones.

Let's take some samples of skin tones.

We'll add them down here so we can look at them.

Let's look at some of these, and some of the brighter areas.

Now, the general rule of thumb on skin tones is you want your A Channel and your B Channel to both be positive, but we want our A Channel to be a little larger than half of the B Channel.

For instance, a little bit larger than half of 25 would be 14 or so.

I mean, it depends on the person's skin tone, but this is a ballpark.

On the 24 here, it should be closer to 14 or 12, instead of 18.

And, over here, it should be higher than nine.

This looks like it's about right.

So, it looks like, in our mid-tones here, because our L is 50, our skin tone is right.

But, on the lighter skin tones, we have too much yellow.

And, on the darker skin tones, we don't have enough yellow.

So, not enough yellow on the dark and too much yellow on the light.

How can we do that? Well, Color Balance lets us discriminate between light and dark.

So, we can increase our yellow a little for our mid-tones, and decrease it for our highlights.

Where does that get us? Pretty close here.

And pretty close here.

But, it looks like our darkest and our lightest are still off a bit.

So, let's go a little further.

Well, that's closer still.

Everything is right except for this darkest one.

I'll take this one, and instead of increasing the Gamma, I'll increase the Lift, so it affects it more in the darkest.

Look at our numbers now.

Those look a lot better.

Here's before, and here's after.

I'll use a Snapshot.

On the left is before.

That's before the adjustments.

On the right is after the adjustments.

That looks pretty subtle, but she looks a little yellow or green right there, and that looks more true.

There are lots of other ways we could do that.

We went over some of them for color adjustment, and I am going to quickly look at Color Saturation.

How can we increase Color Saturation? Right off the bat, we can increase saturation with just the Saturation Slider here.

I can take Saturation and increase it.

Now, that increases saturation in every part of the image.

So, some things start looking kind of neon pretty quickly.

Like, right here her face looks mustard-color.

And these purples are crazy.

Look at that; that's out of gamut.

That is about the same adjustment as taking your Tone Curve and just steepening them.

If you steepen your A and B, that's a lot like just increasing your saturation with the Contrast, Brightness and Saturation Slider.

Another way to adjust Contrast is with an S-Curve, instead of just steepening them.

Now, you can't do this with the Saturation Slider.

That Saturation Slider just lifts those points up and gives you a linear adjustment.

So, let's do an S-Curve and see how that affects the image.

Bring it up.

That gives us a little more punch without taking these colors out of gamut because we haven't brought our top all the way over.

Color Zones enable you to adjust contrast in specific hues.

So, if I change this from Lightness to Hue, I can say I want to increase the saturation of the greens here.

I'll take my Eyedropper and go to these greens, put my point in the middle.

On this tool, it's important to bring your nearest points equi-distant from the point you're going to adjust.

Make your circle small with the mouse wheel.

Now I can increase the Saturation and it will only work on these greens.

Now the greens are more saturated.

Before, and after.

We can pick a color with our Tone Curve just like we did with the Color Zone.

Use our Eyedropper Tool, and just pick this green.

Right there.

Then look at our graph and see where our median point is and enhance that.

That makes our greens pop more without adjusting the other colors too much.

You can see it increased the yellow on my wife a lot too, though, so maybe that's not the best one for this particular image.

Of course, I could combine it with a Drawn Mask and just use it on the left hand side of the image; that would be fine also.

How else can we do it? Well, I've got three methods I use a lot to increase saturation.

For one, I take my Blend Mode and turn it to Parametric and take my L Mask so that it's emphasizing the brighter parts of the image.

Then I take my Blend Mode and change it to Subtract.

I take my Opacity all the way down to zero and slowly bring it up because this is really powerful.

This adds a lot more color.

So, here's before and here's after.

It also controls highlights.

You can see it brought the highlights down here a lot.

We'll bring it up a little more so you can see what's going on.

I'll take a screenshot so we can compare it to a couple other methods.

Another method is instead of using Subtract, use Multiply.

I can do that with an S-Curve on the L Channel, but let's see what it looks like without the S-Curve first.

I bring up my Opacity slowly.

It seems like we get similar results to the Subtract, but things are a little less dark.

We can add some punch and still get that saturation by taking our L Curve and making it a little punchier like that.

Now, this only works with the Multiply; it doesn't do anything on Subtract.

See? Now we've got our color saturation, but we still have our contrast.

Lastly, another way I increase color saturation is to just steepen the A and B Channels like we talked about before.

Just like the saturation, and then apply this differentially to parts of the image that already have not much color.

I can do that with the Parametric Mask and the C Channel.

The C Channel is based on how much chromacity each pixel has.

So, these are the most saturated parts of the image, that are not showing up now.

I'll take this slider and move it all the way down to the unsaturated pixels.

Now this is going to be steepening the A and B Channels on the pixels that have the least amount of saturation.

It kind of equalizes the image and gives a little punch to the less-saturated parts.

Then I can attenuate that with the Opacity.

That's with it off; this is with it on.

I can pick somewhere in between.

I'll show you another couple of things I like to do with skin tones.

Reduce some of the contrast.

I can do that just with the Tone Curve by looking at some of the darker areas here and bringing those up a little, and taking some of these lighter areas here and bringing it down.

That decreases contrast here and gives us more smooth skin tone.

That's with the balancing; that's without it.

Sometimes you want to increase color, but the place you where you want to increase color has a lot of noise, and yo don't want to increase noise at the same time that you're increasing the saturation.

So, there's a way you can do that too.

Let's zoom in here.

Look, we've got some color noise in these flowers.

See that? So, instead of just increasing the color in general, I'll use a Guassian Blur to increase it The reason I do that -- well, you'll see.

I turn my Radius all the way down and then slowly bring my Radius up.

You'll see that these areas that were mottled get blurred out.

See how they get blurred out? I'll keep coming up until the blur looks good to me.

Then I'll go down here.

See where it says "Uniformly"? I'll change my Blend Mode to Color.

Then I can take my Saturation and raise it and it doesn't increase the noise.

If I wanted to, I could do what I did before and use a Parametric Mask with this also.

For instance, if I did it based on the C Channel, I would bring it like this.

Take my C Channel down.

Turn off my Mask Indicator.

Then I can increase my Saturation in the less-saturated areas using that Gaussian Blur so I don't increase noise.

Those are all my tricky ways of doing Exposure, Gamma, Color Balance, and Color Saturation.

I hope you have fun with them.

Now, before we get on to the Edit my RAW section, I want to introduce you to one of my friends who is a photographer on the Big Island and does beautiful work.

Her name is Mary Goodrich.

Real easy to find.

She does these beautiful pictures.

They have a lot of texture.

I find them inspiring.

She does a lot of work with composites and comes up with really interesting results.

Well, take some time to look at her site.

Maybe you'll be inspired like I am.

We have an Edit my RAW picture that brings a challenge.

Let's take a look.

In this shot, we have very low contrast.

The mountains and the sky are very close together in color and there's a lot of blue.

It looks like there was maybe a fire nearby? Or air pollution from a city? Not a lot of contrast down here.

It looks like our colors are very blue everywhere.

I've tried to edit this using parametric masks and isolating different parts of the image.

What a pain in the neck! I was not happy with the results.

So, I'm going to show you a new technique that's still in an experimental stage, that I've been working with.

I'll give you a sneak preview.

First thing, I'll correct the color, because this is not right.

We'll just brighten it a little to start.

Come over here and set the Black Point.

I'm looking at the Histogram, getting all my data on the Histogram there.

There we go; that's our starting point.

Now, let's figure out our White Balance.

What have we got? It looks like it's supposed to be sunset; look at these shadows.

They're coming in.

They're really long and going to the left, so it looks to me like the sun is over here.

And you see it on this cloud too.

So, this should be a reddish, or a yellow-red hue up here.

Down here, what color greens do we have? What kinds of trees are these? This area here looks like it should be a regular green, and this grass over here -- I'm not sure about these areas; they look a little red.

I'll take some samples.


So, grab this.

We'll add that.

And we'll grab this and add that.

And where else can we get? Oh, this looks like a good area right here.

Rule of thumb on greens: we want the A Channel to be half as much as the B Channel.

The B Channel should be positive and the A Channel should be negative.

These are way off.

The yellow needs to be a lot higher.

We can do that right here in the Color Balance.

Let's warm it up.

Well, that certainly brought up our yellow values.

And our green still looks a little strong, so I'll bring it down.

We still have too much green and not enough yellow.

I'll warm it up some more.

And a little more.

Okay, now our greens are about half our yellow all the way across the board.

Let's see what that looks like.

Hey, that looks better.

And our sky is looking like I expected too.

Is the blue in the sky the right blue? Let's look at that.

We've got pretty neutral and a little bit blue.

That looks good to me.

No; that's not blue.

That's positive; that's yellow.


it looks like the lighter colors need a little more blue and the darker colors need a little less blue.

I can do that with my Color Balance.

So, ligher colors a little more blue; darker colors a little less blue.

So, that makes our sky blue and a little bit magenta.

I guess that's right with the sun.

And, our other colors didn't get out of whack.

Okay, that's a good starting point right there.

Now for the tricky technique! First, I'll make two copies of this.

I'm going to use the midtones and try to bring them out as much as I can.

Go to my Tone Curve and figure out where my midtones are.

Right in here.

Okay, we are from here to here, so I'm going to bring this end up a little to give me a little more contrast.

Bring this end down a little.

There we go.

Losing the sky, but I'm not going to worry about that.

Down here, these look a little dark and I don't get much definition in these trees.

Let's see where they're at.

Okay, I want to bring this up.

That looks better.

Over here in the mountains, very low contrast.

Over here and over here.

So I'll bring this over and bring this down.

There we go: look at that.

That's crazy.

Now the clouds and the mountains have a lot of contrast going on.

So, I'll take these three images and export them all I'm exporting them as TIFFS, 16-bit.

I leave my Sizes to zero; keep my Color Space to Adobe, and there we go.

Okay, they're done exporting now, so I'll open a terminal window.

There are our files.

I'll use enfuse and leave the exposure-weight=1.

What this says is 'do an HDR stack.' entropy-weight=0; that means 'don't take into account contrast'; saturation-weight=0; that means 'don't take into account the chromacity.' And '*' just means 'use every file' -- so all of these TIFFS.

Alright, there it goes.

Okay, they're done.

Let's see what we've got.

This first file was to get as much of the midtones as we could.

The second image was emphasizing this foreground and the darker parts.

The third image was to get the mountain.

Here's our stack.

That came out pretty sweet.

So we'll start with that.

What do we want to do first? We've got some data that's off our curve here.

And we need to set our Black Point over.

Maybe we can do both of those by using the Exposure control.

We'll bring our Exposure down a little.

There we go; we've recovered our highlights.

Then we'll bring our Black Point up a little.

I'm looking at this and this, and that looks good to me.

Now, the top of the image could use more contrast than the bottom part of the image, so I'll hit that first.

Find out what the darkest part of the top is.

Right about there.

Bring that down.

Okay, we're losing our White Point here, so I'll bring that up a little, but I'll bring it up for the whole image and brighten everything up.

There we go.

I'll use Lowpass Filter to add a little contour shading Bring our Contrast down a little.

Get rid of our Saturation.

Brightness up a little.

Get our Radius right, so we bring up the features we want.

I'm looking for relief in the trees and I'd like to see some details on the mountains.

Okay, that looks good: I'm at 11 pixels there.

I'll apply that with the Softlight Filter.

And I'm going to have to turn that down.

We'll turn it down to about there.


I need a little more Gamma down here.

I can do that with my Unbreak Input Profile.

Get that to where I want it.

Okay, that's better.

We applied the Lowpass Filter and got some relief.

I'll do it again.

Set my Saturation down to zero; bring my Contrast down a little, and my Brightness up a little.

That time a little smaller Radius; this time only eight pixels.

I'm using the Opacity to attenuate it.

Perfect! That looks good.

Now I'm starting to see some relief in the trees and some in the mountains too.

I'll add a little contrast with the Highpass Filter this time.

I really want to get something out of these mountains.

Starting to see some shading here; that looks good.

Okay, now we're seeing more detail in here.

I'll apply this with a Parametric Mask based on the L Channel, so that the brighter parts of the image get more of the effect.

I'll apply it with a Softlight Filter.

There we are.

There's our before, and our after.

It seems like I need to bring that down just a little.

That looks good to me.

Let's increase the Saturation a little.

First I'll add more saturation to the areas that don't have saturated pixels now, and then I'll saturate the whole image a little more.

So, we'll use a Parametric Mask based on the C Channel.

First, we'll find out where our most-saturated pixels are.

It looks like it's down here, so I'll take the top and move it all the way to zero.

Now you see from the Mask Indicator that the areas that have the most color will get the least amount of the effect; the areas that have the least color will get the most amount of the effect.

And the effect I'm going to give them is I'll give my Color Curves a little bit of an S-Curve here.

So, I'll bring this down and this up, and this up and this down.

Now we've added some color to the flatter parts of the image.

This is before, and this is after.

It looks like we've added blue, and we already had a lot of blue.

So, I'll take my blue and move it back to where it was: right in the middle there.

So I'm going right through the middle of these points.

There: now I haven't added so much blue; that's good.

Now I'll apply color saturation to the entire image.

I'll do that with a method we looked at earlier.

Using the L Channel, bringing my Opacity all the way down, going to Multiply, and then I'll do a little bit of an S-Curve here.

Right there, and at my midpoint I bring it up, and I'll increase my Opacity.

That's looking pretty good.

I'll check my colors again just to be sure.

Let's see, our greens here: a little yellow, but that looks like it might be a little yellow there.

How about up here? That's a little green.

It looks like we're splitting the difference there: some areas are a little yellow; some are a little green.

I think we're right on the money.

And up here: how blue are we? Oh, look at this: we've got a bunch of green and a whole bunch of blue.

I think this top part might be a little overboard on the green and blue.

So: these lighter parts of the top -- I'll put a Drawn Mask here and then say these lighter parts are where I want to affect.

I'll use a Tone Curve for that so I have total control.

So, we want a combination of a Drawn and a Parametric Mask.

There we go.

There's our start.

Then we want a Parametric Mask so these don't get much effect.

Then starting here and up to here, we get more of the effect.

We'll turn on our Mask Indicator and bring our input Black Point up until we exclude the parts that we don't want.

Then I'll attenuate it by continuing up with the upper triangle.

There we go.

Now, let's look at our sky.

How about right in here.

Okay, that's an awful lot of red and not much blue, but that's not a bad combination for colors.

How about in here? What do we have there? We've got green, and blue instead of yellow.

It looks like these darker amounts here have too much blue and the lighter amounts have a good amount of blue.

I don't know what I'll do about that; this is a challenge...

What else have we got that separates these two besides color? Let's forget about the L Channel.

We'll re-set that.

I'll take an Eyedropper and look at this area.

On our A Channel we're at -7; on our B Channel we're at -11.

And up here we are at -4 instead of -11.

And we had -7 before; we're at 0 here.

Well, maybe we can use our A Channel to separate.

Let's do that.

Bring this down close to zero, and then bring this over to -7 or so.

Okay, there we go; that looks right.

We want to decrease the blue and increase the yellow in this area.

I'll get rid of my midpoint.

Get rid of my Mask Indicator.

We wanted to increase the yellow and decrease the blue, so we'll bring the blue down a little.

And bring our yellow up? Do we need to? Boy, that's looking pretty good already.

Here, let's remove these and take a look.

Okay, let's see: green -- yeah, we do need more yellow.

Oh, much better.

Well, we still have a lot of blue because this should be twice the green, but it gets us a lot closer.

That looks like an awful lot of green, so I'll bring it down.

Notice I didn't move my midpoint; I just decreased the amount of green.

That's all.

Well, that's looking pretty good.

I'll do some final sharpening and setting of contrast.

I'll export this and do that.

Here we are.

It's done exporting.

We'll do some final Black Point and a little color work and sharpening, and I'll call this good.

This image still seems a little dark, but we're awful light up here.

I want to brighten this lower part.

That looks happier.

And my Black Point is way off.

I want to set that, but not until after I sharpen because that will change where my Black Point is a little.

Okay: Sharpening.

You know, before I sharpen, I'll create a little more separation -- right in here.

I'll use an Overlay and a Lowpass.

I'll take my Saturation down to zero, figure out my Radius so that I'm just showing the larger mountains and not the details of the trees -- okay, like that.

Now I've got separation here and along this edge, and up here.

I'll apply this so these brighter parts of the image get more of it, and I'll apply it to the upper part of the image.

So, we'll use a Parametric Mask combined with a Drawn Mask.

So, using a Fountain Fill.

Now we're concentrating on the upper part of the image here.

And with the Parametric Mask I'll base it on the L Channel so that the brighter parts of the image get more of the effect.

I'll apply it with an Overlay Filter.

Now, let's decide how much to use.

There's none of it; there's all of it.

There's somewhere in between.

Okay, before; after.

It gives it a little more pop and a little more separation.

Okay, now we're going to do our Highpass work.

Bring it all the way down and just get our edges; just the edges, especially up here.

Maybe we'll do two passes and concentrate on the upper part.

Maybe I'll be able to get by with just using a Gradient Filter; a Drawn Mask.

We'll see.

So, I'm bringing my Contrast and my Sharpness together in such a way that I'm getting the edges I want and not getting extra noise showing up.

I'll apply this with an Overlay Blend Mode.

I like how this looks up here.

But, look: I've got a halo showing up here, so I'll apply this with a Parametric Mask based on the L Channel.

Okay, that got rid of that halo and gave me sharpness up here still.

How did it do down here? Did we end up with too much? It looks like there's too much; it's a little crunchy down here.

Here's our before, and there's our after.

Maybe not; maybe it's okay.

Before and after.

No; I like it.

Okay, a little more punch to the color and I'll be ready to call it done.

Which colors do I want to hit? I'd like for these reds to be a little more stand-outy, so I'll pull them up just a little.

I think we need a little more yellow in here.

Bring that up just a little bit, being careful to leave my midpoint right where it is.

And, on the upper part of the image, I think I'd like a little more yellow to balance out the magenta.

So, I'll separate that.

As a matter of fact, this is too much yellow in here.

So, this one I'll apply with a Drawn Mask facing downward.

Make that a little smaller.

There we go.

Then, this upper half.

I'll give it a more sunset-y look.

Let's see: we would like more purple in this area and a little more yellow and gold up here.

Let's see what we've got.

Boy, we're right near the center, aren't we? Steepen that.

And a little more magenta.

Too much magenta.

Where are we at here? Way down here.

I think the magenta needs to go up in that area specifically.

Ah, there we go.

Let's do the same with our yellow.

We'll be selective about where we enhance.

Alright: it looks like we have a sunset scene.

Looking at the Histogram, it looks like I still need to set my White and Black Points.

I will do that.

I don't want to change any of the stuff that's been touched so far.

If I click on this a second time, it shows me the order that things have been put in.

You see the Highpass and Lowpass stuff comes after the Tone Curves, so I'll export it in order to change my Black and White Points.

Otherwise, it will change what went into the Highpass and Lowpass Filters.

We'll set our White and Black Points now, and any final Gamma adjustment that I want to do.

Okay, and no need for a final Gamma.

Juan, thank you so much for the RAW! Thank you so much for your translations.

Here, I want to show everybody what you've been doing.

Let's see: here we are.

Here's Juan's site.

He's been going through the video from last week and translating into Spanish, which is fantastic! I really appreciate that.

He probably made it clearer too.

Thank you Juan.

Thank you so much.

I will put a link to Juan's site in the show notes.

Don't forget, everybody: weeklyedit.com.

Weekly Edit.

This is the site I've been working on.

One of the advantages to this site is that you can set up playlists based on topics and on modules.

For instance, if I want to look at Tone Mapping, I can see all the places where I use Tone Mapping.

Here they are, right there.

Then it shows me that part in the video.

Weekly Edit.

It's a good place to watch the videos because you've got those playlists.

Also, the individual videos are broken up by their time.

Here we go.

By time, and what events occurred in the videos, so you can jump around.

Hey: there's Juan's site! Everybody have a great weekend, and I'll see you next week.


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