issue160:rawtherapee
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue160:rawtherapee [2020/09/04 14:31] – d52fr | issue160:rawtherapee [2020/09/06 15:17] (Version actuelle) – andre_domenech | ||
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**The skeleton coast is a great place to take photographs in... if you are there at the right time and the right spot. If you are not lucky enough to live close by, and end up with a photo opportunity at the wrong time of day, we can help. We aren’t all sponsored by the BBC to wait around for that perfect day. The skeleton coast has some great contrasts, which make it an attractive destination for photographers. Have you ever wondered about those amazing photographs you see in travel magazines? Well, lets “magazine-worthy” our kitsch photograph. | **The skeleton coast is a great place to take photographs in... if you are there at the right time and the right spot. If you are not lucky enough to live close by, and end up with a photo opportunity at the wrong time of day, we can help. We aren’t all sponsored by the BBC to wait around for that perfect day. The skeleton coast has some great contrasts, which make it an attractive destination for photographers. Have you ever wondered about those amazing photographs you see in travel magazines? Well, lets “magazine-worthy” our kitsch photograph. | ||
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+ | La Côte des squelettes est un merveilleux endroit pour prendre des photos de... si vous êtes là au bon moment et au bon endroit. Si vous n'avez pas la chance de vivre au voisinage et finir par avoir une opportunité de photo au mauvais moment de la journée, nous pouvons vous aider. Nous ne sommes pas tous soutenus financièrement par la BBC pour attendre là-bas le jour parfait. La Côte des squelettes dispose de magnifiques contrastes, qui rendent la destination attirante pour les photographes. Ne vous êtes-vous jamais émerveillé devant ces photographies étonnantes que vous voyez dans les magazines de voyage ? Eh bien, laissons notre photographie « kitsch » devenir une « photo de magazine ». :) Comme le tronc dans le lac de Nouvelle-Zélande, | ||
**Our challenge is to get our image to the same quality as these professional photographs. However, our picture is rather “flat”. This is due to the bright sun in the summer, when you pray for a cloud … aaand obviously taking it at the wrong time of day, but we won’t go there. It’s time for super open-source software to the rescue. Just so you know, there are no monthly / yearly license fees either! | **Our challenge is to get our image to the same quality as these professional photographs. However, our picture is rather “flat”. This is due to the bright sun in the summer, when you pray for a cloud … aaand obviously taking it at the wrong time of day, but we won’t go there. It’s time for super open-source software to the rescue. Just so you know, there are no monthly / yearly license fees either! | ||
Now if we look at some of these examples I have in my search, you will see that the sky looks unnatural. We don’t want that. That is obviously something like an auto edit or a really bad hand edit. The same with the pictures where the sky and the dune join to make a lighter color...** | Now if we look at some of these examples I have in my search, you will see that the sky looks unnatural. We don’t want that. That is obviously something like an auto edit or a really bad hand edit. The same with the pictures where the sky and the dune join to make a lighter color...** | ||
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+ | Notre défi est de donner à notre image la même qualité que ces photographies professionnelles. Cependant, | ||
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+ | Maintenant, si nous regardons les exemples que j'ai dans ma recherche, vous verrez que le ciel semble artificiel. Nous n'en voulons pas. Ça ressemble évidemment à quelque chose comme une modification automatique ou une mauvaise modif. manuelle. Idem pour les images où le ciel et la dune se mélangent pour donner une couleur plus claire... | ||
**Our picture is all faded colors, so one would think that is where you should start. There is a reason exposure is the first tab. It is meant to be your first stop. Our histogram gives us a clue, leaning toward the right. We also have some null space on the left, meaning we can play with the shadows as well. Just by sticking to basic editing, no advance nothing, we can immediately improve the look and feel of our shot. We drop our exposure into the negatives and play with contrast and saturation. Until our picture is life-like. Our histogram should separate nicely into red / green / blue (ignoring the outlier) and settle in the middle, whilst the darker tones sort themselves out as the histogram centres. ** | **Our picture is all faded colors, so one would think that is where you should start. There is a reason exposure is the first tab. It is meant to be your first stop. Our histogram gives us a clue, leaning toward the right. We also have some null space on the left, meaning we can play with the shadows as well. Just by sticking to basic editing, no advance nothing, we can immediately improve the look and feel of our shot. We drop our exposure into the negatives and play with contrast and saturation. Until our picture is life-like. Our histogram should separate nicely into red / green / blue (ignoring the outlier) and settle in the middle, whilst the darker tones sort themselves out as the histogram centres. ** | ||
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+ | Toutes les couleurs de notre image sont fades, ce qui laisse penser que vous devez commencer par là. Il y a une raison pour que l' | ||
**The TL;DR version is: don’t overthink it. You don’t keep searching for your car keys once you have found them. | **The TL;DR version is: don’t overthink it. You don’t keep searching for your car keys once you have found them. | ||
- | One can see that the makers of this awesome open-source editor thought about how a photo gets edited, before putting the interface together. You do not need to be a master if things are logical and straightforward, | + | One can see that the makers of this awesome open-source editor thought about how a photo gets edited, before putting the interface together. You do not need to be a master if things are logical and straightforward, |
- | **You may want to add some highlights, but try to stick to: less is more. So let’s move to detail. Just turning on sharpenc, did the trick for me, though I will refer back to it once I turn on and check my local contrast. Again, just turning on local contrast did the trick. Let’s face it, there isn’t much going on in this picture, so when the dead tree popped, I stopped. Poetic, I know ...** | + | Je vous la fais court : ne réfléchissez pas trop. Vous ne continuez pas à chercher vos clés de voiture quand vous les avez trouvées. |
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+ | On peut voir que les réalisateurs de ce génial éditeur Open Source ont pensé à comment une photo pouvait être modifiée, avant de travailler sur l' | ||
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+ | **You may want to add some highlights, but try to stick to: less is more. So let’s move to detail. Just turning on sharpenc, did the trick for me, though I will refer back to it once I turn on and check my local contrast. Again, just turning on local contrast did the trick. Let’s face it, there isn’t much going on in this picture, so when the dead tree popped, I stopped. Poetic, I know ... | ||
Moving on to color. We have a lot of color noise. The reason is because of the time period this picture was taken in. Space was at a premium and a 2GB SD card cost the same as a 64GB card costs today, so raw was not an option. The jpeg algorithm back then was also not as efficient as it is now, neither were the image processors. We have already discussed how to deal with color noise, so I will not repeat it.** | Moving on to color. We have a lot of color noise. The reason is because of the time period this picture was taken in. Space was at a premium and a 2GB SD card cost the same as a 64GB card costs today, so raw was not an option. The jpeg algorithm back then was also not as efficient as it is now, neither were the image processors. We have already discussed how to deal with color noise, so I will not repeat it.** | ||
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+ | Vous voulez peut-être ajouter quelques points plus lumineux, mais essayez de coller à : moins, c'est mieux. Aussi, passons à Détail. La simple activation de Netteté l'a fait pour moi, bien que j'y reviendrai quand j' | ||
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+ | Passons à Couleur. Nous avons beaucoup de bruit de couleur. La raison vient du moment où cette image a été prise. L' | ||
**Since there is not much I can do about the colors here, I head straight for vibrance. Step up the pastel tones, but don’t overdo it. Instead of grabbing and moving the slider , use the + button. Slowly tease the life out of the photograph. The blue sky may hint towards the unnatural, but we will look at correcting that in another tutorial. | **Since there is not much I can do about the colors here, I head straight for vibrance. Step up the pastel tones, but don’t overdo it. Instead of grabbing and moving the slider , use the + button. Slowly tease the life out of the photograph. The blue sky may hint towards the unnatural, but we will look at correcting that in another tutorial. | ||
You can now jump to transform and select your lens correction. Since this was an older camera, my lens was listed, but if yours is not listed, you can import your LCP file. Full instructions here: https:// | You can now jump to transform and select your lens correction. Since this was an older camera, my lens was listed, but if yours is not listed, you can import your LCP file. Full instructions here: https:// | ||
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+ | Comme il n'y a pas grand chose que je puisse y faire pour les couleurs, je passe directement à la vibrance. Augmentez les tons pastels, mais n'en faites pas trop. Au lieu de saisir et ballader la réglette, utilisez le bouton +. Lentement, faites ressortir la vie dans la photographie. Le ciel bleu peut tendre vers l' | ||
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+ | Vous pouvez maintenant passer à Transformation et choisir votre profil de correction d' | ||
**So now we have vibrant color, we have sharpened the image, and we have our highlights and shadows sorted. However if we look at the sand, we notice that this is not Arrakis, there is detail in the dune. We want to draw attention to it, making it stand out more, making our image more “real”. Head back to exposure ( you have now gone full circle *wink.), and turn on tone mapping. You *may see something happen. We are going to adjust only the edge stopping feature. Move the slider up until the marks in the dune start to pop. Zoomed in all the way, you want to see the pock marks, the stones, and the weeds. The compromise you must make is near and far. Remember to check the ground nearest to you and the ground furthest away from you, and get that detail balance. If you have never been, to give you an idea, that is a group of people on the dune in the background.** | **So now we have vibrant color, we have sharpened the image, and we have our highlights and shadows sorted. However if we look at the sand, we notice that this is not Arrakis, there is detail in the dune. We want to draw attention to it, making it stand out more, making our image more “real”. Head back to exposure ( you have now gone full circle *wink.), and turn on tone mapping. You *may see something happen. We are going to adjust only the edge stopping feature. Move the slider up until the marks in the dune start to pop. Zoomed in all the way, you want to see the pock marks, the stones, and the weeds. The compromise you must make is near and far. Remember to check the ground nearest to you and the ground furthest away from you, and get that detail balance. If you have never been, to give you an idea, that is a group of people on the dune in the background.** | ||
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+ | Ainsi, nous avons maintenant une couleur vive, nous avons réglé la netteté de l' | ||
**We can now save our editing profile in the top right and apply it to the next image taken in the same region, helping us speed along our workflow. | **We can now save our editing profile in the top right and apply it to the next image taken in the same region, helping us speed along our workflow. | ||
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I hope you had fun if you followed along and I hope you learned something.** | I hope you had fun if you followed along and I hope you learned something.** | ||
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+ | Nous pouvons maintenant enregistrer notre profil de modification en haut à droite et l' | ||
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+ | Conseil : Travaillez par petits pas si vous voulez que vos images restent naturelles ; faites des pas de géant si vous voulez choquer avec de merveilleuses œuvres d' | ||
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+ | Notre image finale se distingue fièrement au milieu des autres images affichées sur Internet et nous n' | ||
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+ | J' | ||
**Disclaimer: | **Disclaimer: | ||
As always, if you have any questions or comments, send them to: misc@fullcirclemagazine.org** | As always, if you have any questions or comments, send them to: misc@fullcirclemagazine.org** | ||
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+ | Avertissement : En aucune manière, je ne suis expert en manipulation des photos. Je connais juste un gars qui a un chien qui m'a passé des puces. Je pensais que je pourrais aussi vous aider à vous gratter. | ||
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+ | Comme toujours, si vous avez des questions ou des commentaires, |
issue160/rawtherapee.txt · Dernière modification : 2020/09/06 15:17 de andre_domenech