Introduction and Selective exposure correction

[inskip]

Hi there!

I am a brand-newbie and this is my first posting. A little history, I studied photography in school but quit before finishing I went back for graphic design where I was introduced to Photoshop and realized that photography is what I really love. Right now I stay at home and raise my daughter-my favorite and most challenging subject to photograph-and try to work on my skills when I can.

I've always struggled w/obtaining the right exposure(manually) which brings me to the subject of this post. In the attached image, I'd like to open up that left side(eye, hat, sunflower)some more without blowing out that right side too much. I should of used a reflector but it was a spur of the moment thing... Anyway, most of the threads that I found dealt w/ global exposure adjustments. I tried to use the gradient mask technique (p.71 Eismann) but, for some reason, it kept adjusting the whole picture. If anyone can give me some ideas as to how to approach this problem I'd greatly appreciate it.

Also, something that confused me in Eismanns book is that she strongly suggests working w/ both high-bit files and adjustment layers. This is not possible w/ PS 7. This seems contradictory to me. How do you get around it?

Thanks in advance

D

[DaveS]

Hi Inskip,
as I understand what K Eismann was getting at was to set the curves adjustment layer to screen and then with the mask selected you then draw your gradient with a black to white gradient selected, if you want to add more than one gradient to the mask you should have it set to foregound to transparent with black being the foreground colour, I hope this is what you were after.
As for working with hi-bit I could not find any way round it as it would not let you duplicate the layer or add a layer mask to manually adjust the layer, perhaps someone with grteater knowledge than me can help.
Cheers Dave

[inskip]

I thought I followed the instructions exactly but when I did it I saw an adjustment all over rather than just the area selected w/ the gradient.
Yours looks better, but how about the area behind the layers pallet? I don't want to over-expose that area where the toes are by the window. It is my understanding that the black areas are supposed to hide the adjustment but it didn't COMPLETELY do so in my case. Maybe I missed something...I will try again. Thanks

[Janet Petty]

I've been experimenting on ways to lighten up dark areas without too much fuss. I've taken a fancy to using Control/Alt/Tilde to create a luminosity selection and then inverting the selection. Next use Control/J to create a new layer of the inverted selection. Set the blending mode to screen and work from there. It often saves creating masks and the like and only takes a minute or two to see if the results are worth the effort.

Janet

[inskip]

Oh, and as far as the high-bit thing goes, I just thought it was confusing that she suggest capturing high-bit data for the additional tonal info. The book says to perform tonal and color correction on the high-bit file. She also says you should make all tonal corrections on adjustment layers. BTW this info is on p.37 and 63. But I don't think this is possible in PS7 because it doesn't support adj.layers on high-bit files. I don't know???

[Gary Richardson]

Hi Inskip, try this as a simple technique.

Copy Background layer.
On copied layer, invert image and set layer to Soft Light blend, then adjust opacity to get desired effect.
I have rather overdone the lightening on the example below, to illustrate the effect.

I also applied a gradient mask from right to centre to limit effect to LHS.

[inskip]

Do you think I should keep the specular highlights as is or try to tone them down? Trying to decide....

D

[denschneider]

heres my 10min try. levels adj layer. then move the white input slider until the shadows are what you want. don't worry about blowing out the highlights. then apply layer mask to the adj layer and fill with black. this will hide the adj layer changes. then using a large soft brush paint with white to reveal the adj or black to hide it.

[nicolburch]

i did a render filter used a spotlight effect and cloning of the childs chest to get ride of the glair she has on her.

[inskip]

WOW! That looks great Nicol. Can you tell me a little bit more about how you did it???

Thanks

[Caitlin]

Personally I like the specular highlights - I think it's what makes the photo interesting and unusual. Take away the spots of glare and it becomes more flat and ho-hum. Just my personal opinion.

[inskip]

I understand what you mean. However, I do like how Nicol removed the one from her chest because that one really detracts from her face by pulling your eyes down. I could keep the other hightlights for interest.Thanks for the input...

[Pixel Pusher]

1. I copied the image to it's own layer and removed the background layer

2. added a levels adjustment and moved the middle input slider to the left to open up the left side of the photo. At this point the entire image will brighten up.

3. enter the layer mask. add the layer mask on the levels adjustment layer you just created and create a black and white gradient horizontally. just make sure the gradient is white on the left and black on the right as the white areas will reveal the levels adjustment and the black areas will hide the levels adjustment. this allows you to selectively open up your image. if you need to fine tune the gradient keep this in mind:

the length of the gradient line that you drag determines how the gradient progresses (short lines = harsh change from black to white, a longer drag = smoother transition)

i started my gradient left of the horizontal center and dragged about 2 inches to the left. I didn't want a harsh transition or a super smooth one because the problem area wasn't abrupt but it also wasn't that gradual. e.g. match the gradient to the nature of the problem.

pp

[lkroll]

Enough said. Some smudging to reduce the noise.